A White Witch. Defined as a witch who practices white magic, aiming to do good for the world, as opposed to the Satanic sorts who, well, allegedly aimed to do nothing but harm. In recent years, the popular movement towards “wellness”, “spiritual healing”, etc. have brought a fresh focus to a millennia old practice. In stark, simple terms, modern humanity is not that much different to its ancient and medieval counterparts, excepting that now most utterances are shared the world over at the press of a button. I might add that the accepted “goodness” of such females in modern times sits at odds with the shocking persecution of women in the period known as The Inquisition, which were as boldly implemented by Calvinist (especially) and Lutheran societies as Catholic authoritarian ones.
In musical and Magenta terms, the original White Witch featured as the second movement of the debut album, Revolutions. The album and the piece itself received mixed reviews at the time, but I enjoyed it. Indeed, below you can click on the button to see my 2001 historical album reviews (it is at the bottom of the page), in which I state that: “The highlight, though, is the second epic on side one, White Witch. This is simply incredible, and huge credit must be given to Christina Murphy's vocals on this - she acts and plays the part as if she were born to it. I also loved the woodwind pieces on this epic, featuring some sublime flute and oboe”.
That album, and especially this its orchestral sequel (for want of a better word) are the latest in a very long and proud tradition of symphonic rock fusion which started in the late 1960’s with Sgt. Peppers, Days of Future Passed, and In The Court of the Crimson King.
The album features the wonderful voice of Christina (now) Booth, an astounding talent who many, rightly, compare to the genius of Annie Haslem, the (here acoustic) guitar talents of Chris Fry, and orchestral arrangements by founder Robert Reed, and readers of this review should be aware that this is at its heart a classical music album with prog rock sensibilities, as opposed to the other way around. Huge mention should also be given to the talents (seen live the weekend of writing this review) of Katie Axelsen on that archetypal prog rock instrument, the flute, and Sam Baxster who shines on oboe.
The original track was split into five sub-movements. This CD is split into three distinct parts, namely Sacrifice, Retribution, and Survival. To start, it is the year of our Lord 1645, and the country is wracked not just by Civil War (which ended with the first King Charles rather unfortunately losing his old turnip into a basket) but also by a return of The Plague. The opening part is very long at over 22 minutes long, and tells of Sara, our heroine, who lives in fear of Hopkins & Stearne, witchfinders (they are genuine historical characters of the time), but Mother Nature guiding her hand and healing the sick. The orchestration which bursts out is a joy, as is the gentle harp which follows that initial burst leading into Fry’s delicious acoustic guitar and Tina announcing herself.
I might add that at 6:30 in, there is the most delightful nod to one of the band’s foremost influences, and that is in the form of very brief notes which replicate Yes from The Revealing Science of God on Tales from Topographic Oceans – a very clever nod to the masters of symphonic progressive rock back in the day before the track continues in its unique way. Love it!
Tina is perfect as the main protagonist, Sara, with the pitch between fragility and, when needed to draw upon Mother Earth, the strength to be found in inner healing. The track takes on a bolder hue when the music and lyrics talk of moving beyond the fear of Master Hopkins and the dawning of a new age (speaking of which, we could certainly do with something similar in 2022, please). The Sacred Vow passage which begins the closing movement of the track provide the protagonists, and us in the modern era with hope of a new world in the hands of the child of mother earth healing and succouring us, defeating the horrendous disease.
So, to Retribution. The Plague has been defeated and life goes back to normal. Unfortunately, that also means that old prejudices return, and Master Hopkins returns with his zeal for finding witches – Tina exemplifies this vocally and lyrically with the force of a politician urging the people to his point of view, a confession, a bending of the will. The orchestral opening, with harp, timpani, soaring brass, and bells presage the new age of peace and light, although this is but a brief period of light before the shouting for blood returns, with Sara damned by the mob’s hate. This mob mentality, by the way, is still very much with us, from the imbecilic mass participation in mindless reality tv shows, to more sinister followers and perpetrators of mass murder under authoritarians such as Xi & Putin. It seems we never learn, and this track very cleverly passes on that wisdom to a later generation of people. Sara, as the flames grow higher around her, gives herself unto her Sister Luna.
And so, to the final part, Survival. This is the shortest piece at just under twelve minutes long. It is a fine close to a wonderful album. At its heart is a cry for us to take a vow to Mother Earth and protect all life, and the piece is at once reflective, expansive, and never anything less than gorgeously engaging. Some of the acoustic guitar work and flute are simply stunning alongside the orchestra and Tina’s narrative.
I cannot close the review without mentioning the exceptional artwork by the prolific Björn Gooßes – go to www.killustrations.com for more details.
Take a look here at the film released just as I have been completing this review. Listen, watch, and enjoy a sumptuous feast.
This is a thoroughly enjoyable album, and one I trust that the likes of BBC Radio 3 and Classic FM will feature at the heart of their playlists. Really, nothing else will do.
Pop along to https://magenta.bandcamp.com/album/the-white-witch-a-symphonic-trilogy and treat yourselves. You will not regret it.