SPILL ALBUM REVIEW: TWO TAKES ON THE SPELLS ‘THE NIGHT HAS EYES’ | A DUAL ALBUM REVIEW

THE SPELLS
THE NIGHT HAS EYES
GARGANTA PRESS

Sometimes, an album just demands multiple voices. That’s the case with The Spells ‘The Night Has Eyes’, which has our team buzzing! We’re thrilled to bring you not one, but two reviews, each offering a unique lens through which to experience this music. Dive in and see what you think!

In 1997, Nicole Barrick, Leni Zumas, and Marisa Pool (previously of Speed Queens) got together with producer Greg Talenfeld in New York City to record what would become the debut album by The Spells. The record, however, would never be released. Shortly after its inception, The Night Has Eyes and The Spells would disband. Now, nearly 30 years later, Garganta Press has unearthed the lost record from The Spells, offering a limited vinyl release, giving the witchy power-trio the debut they rightfully deserved back in ’97.

Opening with the jangly and rhythmic chords of “Lilith,” The Spells open their album with a distinct sound reminiscent of the underground New York scene of the ‘70s, giving The Night Has Eyes a vintage tone, even for when it was originally recorded. The song comes to a breakdown of drums and ripping electric guitars. The guitars stop for a lone female voice, delivering a verse of spoken word (or an incantation, if you will) that erupts into a blood-curdling scream before the guitars emerge as abruptly as they had previously stopped. The raw energy of the opener is countered with the streamlined melody and harmonic structure of “Vanishing Act,” a track led by weaving vocals with an ever-so slight cinematic edge to it.

There is a loose, proto-punk sound to The Night Has Eyes that connects The Spells to the artistic sensibilities of The Velvet Underground, as well as the shock and awe of The Stooges. The band’s stripped-down approach to songwriting and recording allows for their creative vision to be seen without the gloss of any excess production or multi-tracking. As such, there is a live feeling to The Night Has Eyes that is contagious. Songs like “Snow White’s Coffin” offer a particularly dark vibe to the record, whereas the title track is propelled by a haunting and sultry tone, largely due to the spacious arrangement and Barrick’s vocal delivery. An additional highlight is The Rolling Stones-influenced “If The World Should End Tonight.” Not only does this track reaffirm the early ‘70s vibe behind the record, but through shifting tempos, the band is able to stretch out the track to an impressive eight minutes without feeling as though the song has overstayed its welcome. Similarly, the closing tracks, “Isadora” and “Yumiko,” feel more ambitious than much of the record, with a building sense of intensity, raw power, sensuality, and a slight grunginess that bridges the sounds of the album with those released in 1997. While the opening tracks may pull the listener in, it is the closing trio that sees The Spells at the height of their hypnotic powers.

Garage rock and early punk collide on The Night Has Eyes. The record shines through its rough edges and minimal production, demonstrating a refined and confident sense of self. The Spells asserted a witchy, dark, and haunted tone to a vintage take on the styles that would significantly influence the grunge wave of the ‘90s. The Night Has Eyes captures a band that has crafted a sound that is both unique and exciting, making it a shame that The Spells never managed to take flight off the support of such a debut when it was originally written. If anything, The Spells prove themselves as a thrilling band with a truly unearthed time capsule that should take listeners back to 1972 through the lens of 1997.

~ Review By Gerrod Harris

The long-lost NYC trio The Spells are gearing up to release their debut album, The Night Has Eyes, recorded in 1997, remained unreleased after the band disbanded. If you like the 90’s female punk scene mixed with a little alternative grunge, this is for you. Celebrated for its classic 90s garage punk sound, it captures youthful energy, punk, and haunting melodies reminiscent of PJ Harvey. The Spells formed in Austin in 1995 and disbanded in NYC in 1998, a short run with bulk potential. It took a few songs for me to get into the vibe, but “If The World Should End Tonight” hooked me. “Isadora” reminds me of a classic 90s Tarantino soundtrack—nonlinear, sharp, witty, and balancing dark and light elements. Unfortunately, I feel like I have missed out on a giant chunk of fierce feminine influence… it took us too long to discover it.

~ Review By Victoria Love-Rainbow

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