In the realm of the supernatural and mystical, one often hears about eerie locations that are said to be haunted or inhabited by witches. One such peculiar place is the witchcraft attic elevator. The mere mention of this mystical contraption evokes images of dark magic and a doorway to worlds unknown. The witchcraft attic elevator is rumored to be found tucked away in an old, decrepit mansion situated deep within a forest. Legends claim that this mansion once belonged to a powerful witch who practiced her craft in secrecy and seclusion. It is believed that she conjured up a mystical elevator that allowed her to travel between realms, communicate with otherworldly beings, and access her treasure trove of magical artifacts.
When the Fall’s “Industrial Estate” plays during the closing credits of High-Rise–Ben Wheatley’s new big-screen adaptation of J. G. Ballard’s classic novel–it’s more than a case of similar subject matter. True, the film is about urban malaise, and so is the song. But Ballard’s vision of a tower block turned hermetic, ingrown, incestuous, and cannibalistic unfolds with a clinical exactitude. On the other hand, “Industrial Estate” is a spew of dissonant chaos, fugue-state chants, and malfunctioning carnival organs that inhabits the liminal space between punk and post-punk–just like the rest of album it appears on, the Fall’s 1979 debut Live at the Witch Trials. At the time, the first wave of post-punks were taking Johnny Rotten’s “no future” rant and parsing it like surgeons, laying it bare and reducing it to its components like Ballard. The Fall were no exception but, where many of their contemporaries used anesthetic and scalpels, they packed switchblades.
No Xmas for John Quays, meanwhile, almost establishes the Fall formula on its own Smith chanting and yelling over a quick, semi-rockabilly shamble and attack punctuated by unexpected stops and starts. By the time the eight-minute closer Music Scene crawls its way into oblivion en route, beating Public Image Ltd s similarly distended Theme and Fodderstompf to the punch by months the Fall had already established themselves as something far more wobbly and toxic than the emerging post-punk mass.
It is believed that she conjured up a mystical elevator that allowed her to travel between realms, communicate with otherworldly beings, and access her treasure trove of magical artifacts. According to local lore, the witchcraft attic elevator is invisible to the untrained eye. Only those who possess a strong affinity for magic and are deemed worthy can lay their eyes upon this enigmatic contraption.
The Fall - Live At The Witch Trials LP
The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.
"Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.
One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band's snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, "We are The Fall, northern white crap that talks back."
Superior Viaduct's edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
Track Listing:
- Frightened
- Crap Rap 2 / Like To Blow
- Rebellious Jukebox
- No Xmas For John Quays
- Mother-Sister!
- Industrial Estate
- Underground Medecin
- Two Steps Back
- Live At The Witch Trials
- Futures And Pasts
- Music Scene
"Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.
It is said that the elevator is concealed within the darkest corner of the attic, hidden behind a tapestry that depicts ancient symbols and incantations. Those who have been fortunate enough to encounter the witchcraft attic elevator describe it as a marvel of arcane engineering. The elevator itself is said to be ornately carved from dark oak wood, adorned with intricate symbols and sigils. The interior is adorned with pulsating purple crystals that emit an ethereal glow, casting an otherworldly ambiance within the elevator. To activate the witchcraft attic elevator, the chosen ones must recite an ancient spell, their words resonating within the walls of the mansion. This incantation is believed to awaken the dormant magic within the elevator, activating its mystical powers. Once activated, the elevator is said to transport individuals to all corners of the magical universe. Some claim that the elevator can take them to different dimensions, where fantastical creatures and wonders beyond imagination await. Others believe that it grants the ability to time travel, allowing the fortunate traveler to witness historical events or explore the future. While tales of the witchcraft attic elevator seem fantastical and mythical, there are those who fervently believe in its existence. They speak of encounters with extraordinary beings and recount tales of unimaginable adventures. Whether this magical contraption is merely a figment of the collective imagination or a doorway to realms beyond our comprehension, the allure and mystery surrounding the witchcraft attic elevator continue to captivate the minds of believers and skeptics alike..
Reviews for "The Witchcraft Attic Elevator and its Symbolism in Contemporary Art"
1. Sarah - 2/5 stars - I was really excited to visit the Witchcraft attic elevator after hearing all the buzz, but I left feeling disappointed. The concept of a witch-themed elevator sounded intriguing, but the execution was lacking. The atmosphere was underwhelming and the scares were predictable. The actors' performances felt forced and amateurish. Overall, it felt like a half-hearted attempt at creating a spooky experience, and I wouldn't recommend it to anyone looking for a genuinely scary time.
2. John - 1/5 stars - Witchcraft attic elevator was a complete letdown for me. The entire experience felt disorganized and chaotic. There were long wait times between elevators, which made the whole thing feel like a rushed, overcrowded production. The scares were cheesy and lacked originality. The staff seemed disinterested and unprofessional. I regretted spending my money on this attraction and I would advise others to skip it altogether.
3. Lisa - 2/5 stars - I had high expectations for the Witchcraft attic elevator, but unfortunately, it fell short. The set design looked promising, but the actual experience was lackluster. The scares were tame, and I found myself waiting for something truly creepy to happen, but it never did. The actors did their best, but their performances were uninspired and cliché. Overall, I was left unimpressed and unsatisfied by the Witchcraft attic elevator.