WITCH CLUB SATAN – Ritual at Rockefeller
- Posted on 11-03-2025
Full photo gallery from the concerts can be seen here:
– VENUE: Rockefeller
– DATE: 8th of March 2025
– ORGANIZER: All Things Live
Some concerts are merely performances, while others feel like full-fledged rituals. The collaboration between “Witch Club Satan” and “MoE” was unmistakably the latter. From the moment the first notes rang out, it was clear that this was no ordinary show. Divided into four acts – “Luft”, “Ild”, “Vann”, and “Jord” – the evening unfolded as an immersive and theatrical journey, both sonically and visually captivating. Each act carried a distinct atmosphere, transforming the venue into a space where sound, movement, and symbolism merged.
“Witch Club Satan”
“Witch Club Satan” is a band that thrives on the theatrical and the extreme, blending black metal, performance art, and ritualistic elements into something truly unique. The fusion of live music and theater was unlike anything I had ever experienced before. Their performances are more than just concerts – they are immersive ceremonies designed to provoke and unsettle. More than just a black metal act, “Witch Club Satan” embodies a feminist philosophy, which they emphasize both in their lyrics and on stage, using their music and performances as a means to challenge conventions and reclaim space within an often male-dominated genre. Their art is raw, unapologetic, and deeply symbolic, confronting themes of bodily autonomy, power, and defiance. The concert taking place on International Women’s Day, March 8th, only amplified this message, turning the performance into a statement of liberation and resistance. The band’s sonic landscape is as unpredictable as their visual aesthetic, shifting between eerie ambiance, punishing noise, and hypnotic rhythms. With a strong emphasis on symbolism and the occult, WCS crafts an atmosphere that feels both primal and otherworldly.
“MoE”
But first, the warmup from “MoE”. Their performance was, in my opinion, the less impressive part of the evening, but they served as a great buildup to the attack on the senses that “Witch Club Satan” (WCS) was. Blending elements of noise rock, avant-garde metal, and free improvisation, their music is abrasive, unpredictable, and deeply unsettling. Their set was a slow-burning escalation, creating a sense of dread. Vocally, they wavered between haunting murmurs and tortured wails, heightening the feeling of unease. While their performance was perhaps less visually theatrical than “Witch Club Satan”, it served as a fitting warmup – setting the stage for the ritual to come with its raw intensity.
A Single Unit
As “MoE”‘s set came to an end, I and several other attendees noticed the smell of something burning. Weirdly enough, there was no panic, and I assumed this was some kind of incense. As “MoE” left the stage and the music faded to a low drone, a column of topless women with long black hair wearing crocheted face coverings started filling the space between the barrier and the stage at the same time as WCS took the stage, dressed in white woven clothes and horned headpieces. The transition between “MoE” and WCS was completely seamless. It felt like they were one and the same band. This stands as a testament to their theatrical ability and the countless rehearsals they must have had together.
Act I: Luft (Air)
The concert opened with “Luft”, an eerie and atmospheric introduction that felt like an invocation. The stage was bathed in dim, flickering lights. Sonically, the act leaned into ethereal drones, airy vocals, unsettling whispers, and ear-rattling shrieks and screams. The use of sound effects and dissonant harmonies set a tone of suspense and anticipation, preparing the audience for the descent into something much darker. This act included “Mother” and “Steilneset”, establishing the band’s haunting presence and setting the stage for the chaos to come.
Act II: Ild (Fire)
From the floating and ephemeral, the performance plunged into raw aggression with “Ild”. This act was an explosion of energy – blazing lights, frantic movements, and a sonic assault of distorted guitars and relentless percussion. The primal intensity of “Witch Club Satan” was in full force. Red lighting dominated the visual palette, amplifying the feeling of ritualistic fury. It was a cathartic experience, as if the stage itself had become an altar of sacrifice. The segment included “Salvation” and “I Was Made By Fire”, songs that embodied the intensity and fury of the act. As one half of “MoE” took center stage for a raw and visceral bass solo, the intensity in the room seemed to pause, as if bracing for what was to come. Then, in a striking transformation, WCS re-emerged onto the stage, nearly nude, clad only in minimal underwear. The dramatic shift in costume amplified the primal energy of the act, stripping away any remaining barriers between performer and ritual. This moment blurred the line between vulnerability and power, reinforcing the band’s commitment to an uninhibited, immersive performance. As the act reached its climax, “The Witch Choir” joined in, adding layers that intensified the atmosphere with haunting harmonies.
Act III: Vann (Water)
After the scorched earth left behind by “Ild”, “Vann” offered a stark contrast. We were introduced to this act with the appearance of a small child on stage, screaming and talking passionately about the different values the band promotes. This was an intense segment that quite literally sent chills down my spine due to the intensity and passion coming from such a young child. Then the performance turned into even more of a rage, with WCS reappearing in what seemed like tattered, ripped, and torn clothes made of some sort of denim. This also included masks made of the same material. Chaos ensued – crowd surfing and standing on the barrier were obviously the next step for one of the members. The crowd went wild, carrying her from the stage deeper into the venue and back to the stage again as she was singing. “Hysteria”, “Black Metal Is Krig” and a new untitled song, were the defining songs of this act. Their hypnotic intensity mirroring the shifting, chaotic energy of “Vann”.
Act IV: Jord (Earth)
The final act, “Jord”, brought everything full circle. This segment was dense and heavy, grounding the performance with pounding rhythms and deep, guttural sounds. There was a sense of finality, as if all the elements had converged into something raw and unshakable. As the act progressed, “The Witch Choir” once again emerged, their harmonies merging with the band’s growls and drones, creating a mesmerizing and deeply primal atmosphere. The climactic conclusion of the night was “Solace Sisters”, which served as a powerful and haunting ending, leaving a lasting impression as the ritual came to a close.
As the final echoes of “Solace Sisters” faded, it became evident that this was more than just a night of music – it was an invocation, a communal reckoning with power, chaos, and liberation. “Witch Club Satan” did not merely perform; they conjured an experience that blurred the boundaries between art, ritual, and raw human expression. The theatricality, the sheer sonic force, and the unwavering commitment to their message left an imprint far beyond the venue walls. As the crowd dispersed, the energy of the night lingered – unsettling, empowering, and unforgettable. I can still visualize many of the moments even as I finish writing this review.