Step in to the ring with VOIDXWITCH bringing you a very different offering of song to that which you usually expect from the Goth electronic world.
This track throws fists then spits in your face, and yet, it gets you pumped, fired up, and ready to stand the hell back up!
I briefly covered their EP 'ECSTACY IN DARKNESS' back when I was doing 'On our sensors' posts
Here
(I really should do some of those again)
“VOIDXWITCH is difficult to quantify. There are a lot of styles on offer in this EP. From one moment I am reminded of SKYND, the next Cradle Of Filth, the next Jazmin Bean, and then Emilie Autumn. There's a lot here to enjoy and I really like all of it.”
VOIDXWITCH
Hex Evans (they/them) —aka VOIDXWITCH— is a queer, Montreal-based artist creating emotionally devastating, uncomfortably erotic, and deeply personal redemption music. Their highly unique blend of musical genres—including alternative pop, witch house, musical theatre, and 2000’s dance music—explores complex subjects close to their heart, such as sexuality, mental health, and survival. These themes, sometimes very dark, are counterbalanced by a persistent gallows humour, an irreverent attitude, as well as driving, life-affirming dance beats.
In 2023, they released their debut 8-track EP, ECSTASY IN DARKNESS. Created with deep intent, they consider this EP an initiation project of personal healing and creative rebirth. Blending punchy vocals with aggressive and melodic synths and samples gathered around the lunar cycles, each track is an emotional, soul-searching journey—dark, intense, angry, despairing, obscene—that transmutes private pain via music- and dance-induced ecstatic states of immense joy and sorrow. Accompanying this release was a music video for their song KILL THE PAIN, which collides spaghetti western aesthetics with Y2K rave energy—all in one beautifully bizarre electropop dance macabre.
In 2024 they released their single BEAST OF THE BLACK HILL, a supernatural revenge song inspired by folk legends of the Barghest, or spectral hounds of ill omen and death, and their personal experiences of childhood trauma. Once again defying genre, this track is a complex blend of alternative dance music, dark pop, and horror musical theatre with rock opera tones. The music video—moody, frantic, theatrical, and confrontational—was filmed in stunning remote locations of personal significance and sees Hex transform into their own personal beast of vengeance.
2025 is set to be an exciting year for Hex, ushering in a new era of tracks, starting with BITCH ON BITCH in January, followed by SUFFER PUPPET in March. Several shows are on the horizon and they look forward to unleashing their music on the stage.
They continue to make music on a never-ending quest of self-transformation, which is inextricably linked to their growth as an artist. Simmering beneath the surface of all this are practices of witchcraft and magic, which Hex utilizes in various stages of their creative process as a means of reclaiming agency, power, dignity, and interconnectedness. The results of this largely intuitive process are surprising and illuminating, forever unfolding as their project develops.
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Interview
Q. This is another great release since your debut EP in 2023, was that your first delve into music or did the journey start before then? (As I sense a lot of talented experience in your work)
First, thank you for the kind words! I’m grateful my work has resonated with you thus far, and for this second feature.
I started making music in 2018 with my partner, Lizbeth Poirier, who’s also a part of VOIDXWITCH. Our first project was Blood and Dust, a noise band inspired by horror movies and the occult, which we gave a queer twist. I played the cello (badly but expressively), and Liz did the synths, and together we created what we called “auditory rituals” that were also stories of personal transformation. I say noise band, but it was also a bunch of other things - post-rock, horror drone, creepy folk music. In a way it has a lot of similarities to what we’re doing with VOIDXWITCH, in that there is a witchcraft ritual element with strong intent, as well as a combination of various genres.
Q. Though the lyrics are clear and easily available, I would love it if you could tell us about the story behind writing this track and if there is a certain event behind its creation?
I’ve had a couple people tell me, “When I listen to your songs, it’s obvious what they’re about,” and I like that. I bottled up a lot of feelings regarding experiences and observations that music has now become an outlet for, and when I started writing songs with lyrics, I wanted the messages to be very clear, and brutally honest - there’s not a lot of fancy metaphors.
For Bitch on Bitch, it’s a culmination of things - bullying, my repressed queerness coming out in weird ways, turbulent trauma-bond relationships, self-loathing, saying what I wish I’d said … but at the heart of it, it’s about rivalry perpetuated by patriarchy. It’s the sound of my frustration of how people who are not seen as cis men are insidiously pitted against each other. It’s about standing my ground, and it’s about my own regrettable participation in the bullshit, but it’s ultimately a call-out of the greater oppressive forces at play. “We got a common enemy and it ain’t me.”
Q. Though I've not been myself yet, I've heard wonderful things about the industrial scene in Canada, what sort of experience have you had so far in the industrial and Gothic scene out there?
By the time I arrived in Montréal, the industrial scene had unfortunately begun to fade, especially because the legendary Kinetik Festival had ceased to be. All the iconic goth venues closed over the years as well. Lizbeth was a big part of it though, having pretty much grown up in Montréal. She says people were really committed to the scene, and industrial music specifically - there was a big crowd for it too. There’s a strong overlap with the noise music scene however, with a lot of amazing underground artists who do both industrial and noise music, and in that way it kind of lives on, as the noise scene is still going strong.
This past December however, I had the chance to perform alongside a Montréal industrial music legend: Aliceffekt, who actually has been Lizbeth’s friend for a long time. This was an amazing experience for all sorts of reasons, and I was really touched by the warmth and enthusiasm of the old-school Montréal rivetheads who are still showing up. Everyone was so nice and supportive of my dark and weird music.
Q. What has been your happiest moment with VOIDXWITCH so far?
Good question! So recording is usually my least favourite part of making music because of the obsession with getting the “best takes,” and because the pressure I put on myself affects my voice in a way I don’t like. While I mostly record at home, I had two opportunities to record at Hotel2Tango, a recording studio in Montréal known for its cultural role in the city’s music scene, as well as its legendary founders - members of Godspeed You! Black Emperor, who were my heroes growing up as an angsty teen unsettled with the state of the world. The studio itself has such a warm energy, the sound engineer was awesome, my voice teacher came in, it was a lot of fun, and I felt like I was participating in something greater because of Godspeed’s legacy. Teenage me would be really fucking proud of me.
I also really enjoy performing. I’ve only performed twice as VOIDXWITCH (and I have two more shows booked right now), but as many artists say, there is something special about the direct energy exchange with the audience that is revitalizing for the soul. I look forward to more of those shared experiences and I know I have a lot to learn from them.
Q. What would you like to have achieved with VOIDXWITCH by this time next year?
I want to do shows, I would love to do at least one festival, I want to connect with more fans. I want to have conquered my demons a bit, or at least live with them in a way that doesn’t hold me back from what I want to do. I want to keep making art.
Q. Has being in the music scene thus far taught you any life lessons or experiences you'd like to share with the readers?
That when it comes to obstacles in life, I am my own worst enemy. A feeling of despair and worthlessness has haunted me my entire life, inclined me towards unhealthy choices and kept me from reaching for my dreams. The process of making and sharing these songs and music videos has exposed to me how much I do really struggle to see my value, even if people I love and trust assure me over and over that it’s good what I’m doing, and that what I have to say matters.
Related to that, the healing power of music. I need to make a big shout-out here to someone whose music was massively life-changing and influential for me: Zheani, an independent musician and artist from Australia. Her music found me in a driftless-but-searching moment of my life, me wanting to be a musician who puts themselves out there but not sure if I had the guts or anything of value to offer the world. Listening to her self-titled EP over and over for months in 2021, it taught me how powerful speaking the raw truth is, and how music can be a salve for the soul that then ripples out in a rather revolutionary way. So that was really cool - I recommend everyone listen to Zheani if you haven’t!
Q. Anything you'd like to say to your fans?
To all of those who are supporting me at the start of my journey, I am endlessly grateful in a way I honestly don’t have words for yet - it’s still all rolling around in my heart. If you relate to what I’m singing about I’m sorry, and I hope my music can be a beacon or a support or whatever it does mean for you. Also, talk back and take no shit! You fucking rock.
Review
'Bitch on Bitch' is a mostly spoken song with a very clear and sharp edge of fierceness; the melodic singing sections combine nicely, weaving in and out of the vocal styles with sheer grace. The lyrics are there to see on Bandcamp making for some great reading as Hex sings against hate.. Yet using that hate against those who wield it first - to see some sense. I LOVE that! (We've all been on the end of hate and abuse by normies right?) The spoken lyrical approach for the beginning half gives it a raw feel, keeping you hanging onto every word. Hex's delivery is fierce resonating for those who have faced adversity.
Step into my ring bitch, this is gonna stingI smell you talking shit and I’m fucking sick of it So here’s a fist for each face, you duplicitous snake Fuck you if you’re insecure, think I heard your ego break Not a queen bee, you’re just a fucking wannabe Hypocrisy, that’s right, you peaked in mediocrity I wish, oh I wish, oh I wish you could see We got a common enemy - and it ain’t me
Genre wise, Hex has thrown in elements of Witch House, Dark Pop, and some beat based 'rap'. There is a great electronic loop at 1:20 that gives the track a great kick, and sections it out nicely. At around 2:04 I am reminded of old school Emilie Autumn with the melody of her singing and the vibe the music creates.
I love the fact they're wearing a strap, such a flex!
2:50 brings in a thicker bass and beat alongside more great electronics creating a really catchy end to the track that has definitely got it caught in my head the whole day - Proof of Hex's songwriting prowess!
Get fucked up to numb the pain Friends and foes look all the same Hate is love, and love is hate, Stab my back, it feels great
Conclusion
Bitch on Bitch is a 'fuck around and find out' anthem of spicy Electro-Goth fury. You need a track for the gym? This is it. You need a track before you step in to an MMA match, here you go. You need a song just to get through the thought of seeing someone you don't like today? Hex got you covered.
Fierce, proud, unapologetic, and packed with fun, Bitch on Bitch is a great little niche of alternative music that isn't explored anywhere as much as it should be with its melodic spoken tones against an energetic electro background.
All that to say.. It's bloody brilliant!
Thank you!
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