The demons of Heavy Metal have risen again! This would probably be the most fitting phrase to describe these guys. It’s 2008, they’ve been around for decades, and yet they are still relentlessly crafting an album full of satanic, dark themes blended with hellish Hard Rock tones—a truly commendable feat. The album cover alone says enough about the concept. Originating from the legendary NWOBHM scene of the ‘80s UK island, they belong to a handful of bands that carved their own paths alongside cult names like Venom, Satan, Angel Witch, Bitches Sin, and Witchfinder General—all of whom contributed hugely to the satanic lyrical and thematic tradition of the era. And among those, Wytchfynde stands out as one of the few surviving bands still active alongside Venom.
Seeing their 6th studio album in 2008 from a band that released Give Em Hell back in 1980 and still chasing these themes draws me to the record. They may not be as widely known as Venom, but after Venom, they remain one of the most important bands to preserve the hellfire, devil worship, and Heavy Metal elements with the same authentic spirit—undeniably so. Since their classic Witching Hour re-recordings, seven years had passed, but the lineup—members included—had barely changed.
The quartet consists of Harry Harrison on vocals, Montalo on guitar, Pete Surgey on bass, and Gra Scoresby on drums. If you’ve heard their earlier albums, you’ll recall Steve Bridges and later Luther Beltz handling vocals, with the latter returning on the 2001 The Witching Hour to end a 17-year silence. When Harry took over vocals, the lineup solidified. If you ask me who the better vocalist is, that’s a matter of taste—but personally, I favor Luther Beltz, who now fronts another band named Wytchfynde. It’s curious why Luther would start a new band with almost the same name, though.
Back to the album: Play It To Death may not be wildly original musically, but it successfully captures the flavor of classic ‘80s Hard ‘n Heavy albums, resonating well with old-school Heavy Metal fans. Harry’s vocals lean more toward a progressive style. The album offers both fast and heavy tracks alongside slower, more melancholic, and melodic songs featuring acoustic sections. Sometimes the bass feels a bit too prominent in the mix. Notably, the album includes two covers: Rolling Stones’ Paint It Black and Robin Trower’s Shame The Devil.
The title track Play It To Death kicks off with sharp guitars, dark riffs, a clearly supportive bass line adding depth, and a dynamic tempo that never loses momentum—melodic yet powerful. It flows into the mysterious Holy Ground, which opens with a call to prayer and highlights Harry’s clean, straightforward vocal style. As mentioned, the vocals might evoke a progressive metal atmosphere—sometimes a symbol of strength, other times cloaked in darkness. I prefer this track’s arrangement over the opener.
Elements is a mid-tempo track with a good balance of heaviness and acoustic parts. The vocals become stronger, rivaling many power metal singers, moving even further from the progressive sound. The solos add another layer of charm. Sticks And Stones begins acoustically before exploding into relentless, dark Heavy Metal noise. Despite Harry’s strong voice, there are moments where it gets a bit grating, though the ghostly, mystical interlude and subsequent solo are outstanding.
Darkest Places opens with a chaotic mix of children’s voices and gradually rising apocalyptic drums alongside a great solo. The chorus featuring child vocals gives the feel of a strange, almost child-targeted song. The final section switches gears with a strong Hard Rock riff and aggressive vocals closing the piece.
Another acoustic start marks Life’s A Killer, a typical Hard Rock/Heavy track without much distinctiveness. However, Three Wise Monkeys grabbed me with a fantastic intro—rough riffs, and Harry’s spirited vocals fitting classic Hard Rock perfectly, backed by a majestic solo that keeps the energy alive. The band then delivers a solid take on the Rolling Stones cover Shame The Devil, melting the song into their style while maintaining balance and avoiding showiness.
After such energy, the melancholic and gloomy intro of Love Like Sin hits hard—my favorite track on the album. Even in heavier sections, there’s an underlying sadness in the riffs, complemented by superbly fierce vocals. Everything from the solos to the arrangements is classy and well done. The album closes with Paint It Black, originally by British blues legend Robin Trower. The band keeps the spirit intact on both covers, offering sharp, tasteful interpretations without breaking the chemistry.
If you just listen to their music, you might not realize how satanic their image is. If you only glance at the cover or read the lyrics, you wouldn’t immediately expect this kind of musical makeup either. This blend of Hard Rock, Progressive Metal, and classic Heavy Metal elements creates a sound that never leaves the listener devoid of darkness, melancholy, or mystery. In the NWOBHM scene, Wytchfynde stands out as a band with an extraordinary character.