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PHANTOM SPELL
Heather & Hearth

Wizard Tower / Cruz Del Sur Music (2025)
Rating: 9/10

Still meddling with all things vintage, Brit rocker Kyle McNeill (Seven Sisters) returns with Phantom Spell, three years after their impressive debut full-length album, Immortal’s Requiem.

As stuffy as those moth-ridden flares you picked up at that stinky charity shop, Heather & Hearth gives off a musty waft that caresses the moustaches of grand wizards with herby prog’ and nostalgic uncle rock. McNeill is a talented individual of copper mane and autumnal facial hair, tiptoeing through the tulips like a lad stepping out, excitedly, from a time machine he invented but didn’t expect to work!

Harken then the influences far and wide such as Wishbone Ash, Camel and Manilla Road alongside a layer of cosmic cheese atop New Wave Of British Heavy Metal. McNeill tells stories, his tones are hushed narrations, sublime and soothing notions orchestrated within further warming potions. The songs trickle rather than jab. There’s no foreboding here, just wistful chimes of simmering warmth as lyrics such as “the swing of the sword will bring on the season of change” leave vapour trails above the flickering flames of the campfire.

No threat is posted here, only the majesty of elements brood as ‘The Autumn Citadel’ unravels with a smouldering beauty. The rockier parts are established via breezy axe work and the progressive splashes are there to ease you, not fry you. So yes, this is an exceptionally easy going album that feels pastoral in its construction.

‘A Distant Shore’ is sumptuous in its layout; the organic production, the Kansas-esque melody and just the way it sweeps the listener up in a purple haze. McNeill’s voice is hauntingly mesmeric, conjuring all sorts of 70s nostalgia, and it’s certainly best experienced on good headphones. At the three-minute mark there’s a cool slice of axe work and an almost funkiness to the chords. The sound of the organ is subtle, swishing playfully behind the kick of the drums.

‘Siren Song’ tickles the audience with its acoustic intro before riff and organ collide politely with the percussive taps. There’s a simplicity yet also an extravagance as McNeill seemingly nonchalantly sees together medieval mysticism with 70s prog silkiness. The effortless marrying of folk and moody Moog alongside simmering hard rock is just a joy to behold. However, for those of you who might have been selfishly expecting something heavier then the bewitching ‘Evil Hand’ should suffice. There are hints of vintage Iron Maiden as McNeill leans heavily on the stark and almost bleak NWOBHM influences as the drums and guitar gallop with confidence. McNeill’s vocals step up a notch as he has us reaching into the late 70s and early 80s trad’ metal void for inspiration. The main solo here is hypnotic, working in tandem with the backwash of sprightly organ.

Last but not least the title track delicately introduces itself. It’s an 11 minute tapestry and fragile exploration into realms of spirituality. One dare not raise their voice in the presence of such aching wonderment as the enchanting chords eventually get swept into a mid-section of soaring axe and choppy organ. The song then steps down into a magical swoon and swoosh of fairytale proportions with the instruments flowing like gentle rivers of calmness. No, there’s no forceful metal here to speak of, but it’s every bit as engaging.

Kyle McNeill is more than a musician, more of a composer who with magic hands, heart and mind has crafted something familiar yet emotive, and that’s exactly what music is all about.

Neil Arnold

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