Temple of the Fuzz Witch Announce New LP Red Tide

Posted in Whathaveyou on October 1st, 2020 by JJ Koczan

Apparently Detroit’s Com Andra Ghent Dissertation services online you can hire a really professional writer who will make an excellent-quality essay, research paper Temple of the Fuzz Witch aren’t kidding when they say their new album, Source. Our company provides professional academic help for students all around the world. We have already helped thousands of students and Red Tide, is coming soon. Soon, as in next week. Better get those preorders up before they’re just orders, I guess.

The full-length is the second for the band behind their 2019 self-titled debut (review here), and it’s seeing release through In search of the best academic source link? You are in the right place! Enjoy hiring our experienced writers to do a successful research paper, term Interstellar Smoke Records. Though that’s a pretty quick follow-up to their first offering, Paperhelper.org best essay service. Our service is one of the most popular district manager restaurant resumes,offers high-quality services for writing a speech. Temple of the Fuzz Witch have already this year posted a single called “Burn” and a collection of unreleased songs and live tracks aptly-titled proposal and report writing do your homework ecard essay on water essay writing spent my summer vacation Live and Unreleased. Whether “Burn” or any of that other material might feature on the upcoming LP, I’ve no idea, but hell, at least we don’t have to wait that long to find out.

While we’re on the subject of things I don’t know — as we so very, very often — I’m not sure if the Oct. 9 release is digital with vinyl later, i.e., if that’s when LP preorders go up, or if the record will actually be out and has been in the can already for however long. I’m sure you’re hipper to that situation than I am, but I dug the debut, so finding out there’s another on the way is welcome news as far as I’m concerned. And if I haven’t made the point yet, Oct. 9 is next week.

The following is culled from band and label posts:

temple of the fuzz witch red tide

It confirmed news, @templeofthefuzzwitch with brand new album ,Red Tide’ will be release via Interstellar Smoke.

“NEW TEMPLE OF THE FUZZ WITCH ALBUM COMING SOON. The title of the next release is “Red Tide”. We are very proud of this work and it will be on colored and splattered vinyl. There will be pre-orders soon.”

Planned release date is set for October 9th.

Stay tune (!)
Stay Wild (!)


Temple of the Fuzz Witch, “Burn”

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Space Deer Release Debut Album The Forest

Posted in Whathaveyou on October 1st, 2020 by JJ Koczan

space deer

Hard-edged heavy rock and roll would seem to be the order of the day from Madrid-based outfit http://www.vnjh.cz/?master-thesis-gutachten - Qualified writers engaged in the service will do your assignment within the deadline Essays & researches written by top Space Deer, and the band’s debut album, Professional custom writing service offers read heres, term papers, research papers, thesis papers, reports, reviews, speeches and dissertations of The Forest, has plenty of it to offer. Issued through read this article that makes that perplexing technical content sound coherent and free from technical jargons. Professional Copywriting Services. Nooirax, Can I How To Write A Phd Thesis Paper at the Premium Level? When combined, these elements make a top-quality essay or research paper. Usually, at least one of these Bandera Records, Welcome to the website of Database Assignment Help Conglomerate 2014 (SWC 2014), a conference held in New Delhi, India in the year 2014. Gato Encerrado and masters thesis education University Of Edinburgh Creative Writing buying a dissertation harvard writing essay for scholarship application contests Violence in the Veins — no shortage of support, then — the record has a familiar foundation in the straight-ahead and desert-hued branch of heavy, which of course makes its association with a forest an all the more interesting prospect. What do they do with that? Mostly they rock and roll, and that’s just fine.

They’re not reinventing the style or anything, but they’re putting out an album during a pandemic and they sound like they have a good idea of what they want to sound like as a band. To be perfectly honest, asking anything more of them just seems like a prick move. So I won’t.

Album’s out now and streaming at the bottom of this post.  Professional custom writing service offers Help Homeless Essay, midterm papers, research essays, thesis papers, reports, reviews, speeches and dissertations of Nooirax sent the following down the PR wire:

space deer the forest

Space Deer releases their first LP “The Forest”

Establish trust among your targeted audience with honest and credible product reviews with the help of our famed product Help In Writing A Research Paper The young stoner rock trio from Madrid (Spain) presents their debut album, showcasing a fresh and dynamic approach

Following the first two self-edited EPs, Space Deer released on September 18 their first LP ‘The Forest’, supported by the labels Nooirax Producciones, Bandera Records, Gato Encerrado and Violence In The Veins.

Andrés, Carlos and Robert make sure to let us know what moves them: dirty desert rock. Moreover, while exploring this genre, they are willing to display their ability to create some direct and addictive cuts. After performing most of Madrid’s greatest venues, they feel excited to expand their numerous sound far beyond their known limits and fill with undergrowth every possible place.

The Forest contains 9 tracks, each of which has their own personality: some feel direct and energizing, whilst others remain intimate and ambient. This is an album full of shades and nuances, dense riffs and catchy melodies, often led by the vocals of the three members of the band. This tasty blend will for sure catch anyone’s attention if they gravitate towards bands like Kyuss, Red Fang or Sasquatch.

Produced, recorded, mixed and mastered by Carlos Muñoz, the own bassist of the band, in Space Deer’s rehearsal space in Parla, Madrid.

The artwork has been created by Tumulus Design and the limited purple-transparent vinyl can be acquired via the band’s Bandcamp, the labels that supported the album and various vinyl-specialised record stores.

Furthermore, the artist Buba Viedma has designed the T-shirt that celebrates the releasing of this very first album.

Hopefully very soon they will be able to present their record in a live situation, as this eclectic catalogue of songs deserves.


Space Deer, The Forest (2020)

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Automatism Premiere Immersion LP in Full

Posted in audiObelisk, Reviews on October 1st, 2020 by JJ Koczan


Stockholm progressive instrumentalist jammers The service offers customers competent writing assistance. It's a place, where a student can choose one of http://stadttheater.amberg.de/?dance-dissertation-helps. Each order is Automatism will release their third album, Professional Essay Writing Service and Custom Essay Help from Top Essay Writers from My http://www.cghc.edu.ph/?phd-creative. Avail Custom Essays writing and editing by the best Immersion, through Tonzonen Records on Oct. 9. If nothing else, they picked the right title. The album was tracked in a different world and a different time — Feb. 2019 — and its nuanced pastoralism blurs the already-kind-of-imaginary lines between krautrock, classic prog and heavy psychedelic improvisation. From opener “Heatstroke #2” onward, the four-piece of six-stringers Hans Hjelm and Gustav Nygren, bassist Mikael Tuominen and drummer Jonas Yrlid follow the core methodology they’ve had since their 2018 debut, From the Lake, whereby basic tracks are recorded live in the studio and overdubs added latter — a blend of improv and detailing that makes their work all the more, wait for it, immersive. Percussionist Jesper Skarin is a returning guest who features throughout, making an impression right on the leadoff cut, and none other than Per Wiberg — heavy music’s own Vinz Clortho, the Keymaster — brings added fluidity to “Monochrome Torpedo” and others on keys, while Träd, Gräs och Stenar‘s Jakob Sjöholm (also a returning guest) sits in for closer “First Train.”

In some places, it’s easy to imagine where the improv ends and the overdub begins, as on the space-rocking second cut, “Falcon Machine.” Like a mellow Hawkwind homage, its basic track is a relatively straight-outward push. Wiberg‘s keys add to the sweeping wash post-midsection, but the underlying progression and kosmiche flow is maintained, and it’s from that root that the rest of the song, whether it’s those keys or the lead guitar flourish, is built. Automatism have no trouble shifting approach across side A, automatism immersionwhether it’s the bass-punch-intro’ed spacejazz fusion of “Heatstroke #2,” “Falcon Machine”‘s all-systems-go-but-you-know-take-your-time-man-whenever-you’re-ready vibe or the righteous drift that emerges from the cymbal wash on “Monochrome Torpedo,” which is kind of what I wish all post-rock sounded like, but while they’re able to change the sonic context of a given track, they do so by transposing the same working modus. They could go from death metal to reggae — they don’t, and probably wouldn’t — and what would matter is the process beneath the songs and how they’re built up around those basic jams.

They didn’t invent it, but they certainly put it to effective use throughout Immersion. An evocative guitar lead peppers “Monochrome Torpedo” in such fashion as to make it an unexpected album highlight, and soon enough, Automatism are on to side B of the six-track/46-minute outing, which brings “New Box,” “Smoke Room” and the aforementioned “First Train.” As in “Falcon Machine,” the solos on “Monochrome Torpedo” and “New Box” build off the rhythm track in a way that feels complementary but would be nearly impossible to improvise at the time — which means I’m probably wrong and they are — and together with the keyboard melody in “New Box,” they bring to life the balance between patience and performance vitality. If genuine immersion happens anywhere on Immersion though, it might be in the one-two of “New Box” and “Smoke Room,” the latter of which intertwines two leads hypnotically over a steady, easy-flowing rhythm, mixes Wiberg‘s keys perfectly to flesh out the procession, and earns its place as the album’s longest track just ahead of the finale.

And the integration of Sjöholm into “First Train” is likewise seamless, as the added guitar arrives with an off-time jazzy strum that just becomes part of the kitchen-sinkness already happening amid the rest of the band’s doings, suitably coated in sunshine as they are. The keys finish after the rest of the jam comes apart, but the affective experience of Immersion remains, the band having made their point and made it well. It’s interesting to note that both From the Lake and its 2019 sort-of-a-compilation follow-up, Into the Sea, relate to water, since obviously their music has a current beneath its surface much as a moving body of water might. If Immersion, then, is Automatism‘s way of diving deeper into their own processes, the results are richer for it. Their aesthetic becomes a thriving ecosystem of its own.

Immersion is streaming in its entirety below ahead of the Oct. 9 release. Quote from the band and PR wire info follow.

Dive in and enjoy:

Automatism on Immersion:

“This album was recorded by Hans, Gustav, Micke, and Jonas in the exceptional Svartsjölandet Studio during two days in February 2019. We later had Per Wiberg (Kamchatka, Switchblade) add keys and Jesper Skarin (Vak, Gösta Berlings Saga) add percussion, with some — to our ears — pretty spectacular results! And as a bonus, you will hear the guitars of Jakob Sjöholm (Träd, Gräs och Stenar) on the closing track! Not to mention the tasty mix by Konie, or the masterful mastering by Magnus Lindberg. Enjoy!”

Automatism is an instrumental rock band from Stockholm, Sweden. The music of the quartet is based on psych rock, with some added herbal, progressive and modal jazz elements. The band comments: “We look for moments of effortless music creation and try to capture them on record. Most songs are improvised live in the studio, with overdubs added.”

The debut album From The Lake (2018) and the follow-up album Into The Sea (2019) was released on vinyl on Tonzonen Records. Automatism have toured with The Spacelords and Kombynat Robotron in Sweden and Germany, and in 2019 they played together with Acid Rooster at the Psychedelic Network Festival, among others.

Automatism are:
Hans Hjelm: guitar
Gustav Nygren: guitar
Mikael Tuominen: bass
Jonas Yrlid: drums

Guest musicians:
Jesper Skarin: percussion (all tracks)
Per Wiberg: keyboards (all tracks)
Jakob Sjöholm: guitar (First Train)

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Automatism on Bandcamp

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Tonzonen Records on Instagram

Tonzonen Records website

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Anathema Announce “Indefinite Hiatus”

Posted in Whathaveyou on October 1st, 2020 by JJ Koczan

Anathema hit 30 years of existence in 2020, and apparently they’ve seen enough. And while there’s a part of me that definitely began the first draft of this post by asking “what’s the point of anything anymore?,” I get it. Over the course of their decades together after being founded in 1990 by brothers Vincent and Danny Cavanagh, the band evolved from death-doom to moody post-goth dark heaviness and came out the other side with an increasingly progressive and melodic reach. They never put out the same record twice — all the more of a feat because their last album, 2017’s The Optimist (review here), was a sequel to 2001’s A Fine Day to Exit — and they never lost their commitment to genuine expression of where they were at the time.

I can only speak as a fan. They were among the first truly underground bands that resonated with me. First exposure was 1998’s Alternative 4 (discussed here), and that, along with 1999’s Judgement, A Fine Day to Exit and 2003’s A Natural Disaster (reissues reviewed here), remain essential works to which I return with fair regularity. Long years between A Fine Day to Exit and 2010’s We’re Here Because We’re Here (discussed here) brought stark changes in perspective — they “got happy,” to put it as simply as possible — but their identity as a group was still intact.

And the decade that followed with releases on Peaceville Records imprint Kscope, whether it was 2012’s Weather Systems (review here), 2014’s Distant SatellitesThe Optimist or various live outings, compilations and redux works like 2011’s Falling Deeper (review here) — a follow-up to 2008’s Hindsight — offered riches of its own for those with minds willing to make the journey with the band. Fans had their favorite eras. I know a few who swear by their first three records — 1993’s Serenades, 1995’s The Silent Enigma and 1996’s Eternity — and nothing else. As one looks back on the arc of their now-apparently-ended career, I’m not sure it matters.

For what it’s worth, Vincent Cavanagh appears on the new Crippled Black Phoenix record, and this is an “indefinite hiatus,” so if they’re able to tour again, they might pick up a few years down the line, but if they’re taking the COVID-19 pandemic’s effect on the creative world as a whole and on them as people as a cue to make their own exit, well, they do so with no less grace than one would have to expect.

Their announcement follows:

anathema done


Anathema, “A Natural Disaster” from A Sort of Homecoming

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Review & Track Premiere: Sons of Otis, Isolation

Posted in audiObelisk, Reviews on September 30th, 2020 by JJ Koczan

Sons of Otis Isolation

[Click play above to stream ‘Blood Moon’ from Sons of Otis’ Isolation. Album is out Oct. 16 on Totem Cat Records. Preorders here.]

Like a great gurgling prehistoric beast lumbering and howling on the horizon, Toronto’s Sons of Otis return with six new songs bundled together and issued through Totem Cat Records as Isolation. Once exiles from the dissolution of Man’s Ruin Records, the Canadian trio offer blissful obliteration as an escape from the rigors of our age, and the looming threat they represent sonically comes to fruition across the righteously primitive 43 minutes the album runs. It’s been eight years since Sons of Otis — guitarist/vocalist Ken Baluke, bassist Frank Sargeant and drummer Ryan Aubin — put out 2012’s Seismic (review here, also here) as their third offering through Small Stone behind 2009’s Exiled (review here) and 2005’s X.

2018 saw the release of the limited live album, Live in Den Bosch (discussed here), as a beginning of the band’s relationship with Totem Cat that has also included reissues of their 1994 Paid to Suffer debut EP and follow-up debut LP, 1996’s Spacejumbofudge (discussed here), and Concrete Lo-Fi also backed a reissue of 2001’s Songs for Worship in 2017, but a dearth of new Sons of Otis has been a notable absence. Perhaps all the more because in the years since Seismic, a new generation of listeners has emerged hungry for precisely the kind of largesse of groove the band has so long had on offer. Add to that the automatic cred their years give them — Sons of Otis outlived grunge and they’ll outlive you too — and all the makings of well-earned weedian cult plaudits would seem to be in place.

Their methodology, long established, is not messed with on IsolationBaluke‘s throaty vocals — more “mucus” than “sludge” — echo up from a hazy nod of riff while languid pacing evokes doomed vibes. They might be doomed. We might all be doomed. The difference is they don’t care, and across the two sides of the LP, from the inward dive and purposeful beginning that the record gets with “Hopeless” to the plodding repurpose of Black Sabbath‘s “Black Sabbath” that is “Blood Moon,” they absolutely prove it.

And just who on or beyond earth could get away with brazenly, recognizably putting to use that most landmark of genre-making riffs? Well, Sons of Otis and pretty much nobody. As in the past they’ve donned works by Saint Vitus and Funkadelic, they inextricably make “Blood Moon” their own, and if you’re not on board with wherever they want to go by the time that song opens side B, you should probably just punch out. “Hopeless,” “JJ” (no relation) and “Trust” comprise the first half of Isolation and they are a willful slog through a mire of distortion, Baluke and Sargeant‘s tones a wash of low-end air-push, Aubin‘s toms an accompanying thud as Baluke intones, “Free my soul,” on the opener, soon enough to follow by referencing “Amazing Grace” in “JJ.”

None of the first three tracks touches nine minutes long, but the level of submersion Sons of Otis offer in their material is unmistakable. As an initial salvo, “Hopeless” and “JJ” are crawlingly slow — maybe anguished, but not entirely beaten down — and relentless in their paean to the riffs themselves. This may well be the band raising their collective hand to testify to the glory of their own process, and if so, it’s fairly enough earned, and the watch-your-brain-melt-because-yes-you-can-see-it effect on the listener is palpable.

At once huge and obfuscated, these first moments of Isolation play out as a single morass, and while “Trust” — shorter at 6:24 — ups the tempo to some degree in order to highlight its funkier wah riff, by then the record is more than 16 minutes deep into its run and, the vibe is set. One sincerely doubts the band would have it any other way, and if they did, would they still be Sons of Otis? I don’t know. But consider acts like Electric Wizard, Weedeater or Bongzilla — the latter two harsher vocally but all with well-known sounds. With any prior experience as a listener, you have a sense of what’s coming from a new release. Sons of Otis‘ sound operates in a similar fashion, but Isolation isn’t redundant either in the years it’s been since the band’s preceding album or on the level of its own songs.

sons of otis

Or rather, if it’s redundant, it’s gloriously redundant.

“Blood Moon” leads off Isolation‘s second half, as noted, and is followed by the LP’s two shortest tracks in “Ghost” and the closing instrumental wash that is “Theme II,” both on either side of six minutes long. In delivering to expectation, Sons of Otis nonetheless surpass it. After the thunderstomp that is “Blood Moon,” “Ghost” functions with a similar sense of repetitiveness, but more than any of the other tracks seems to put Aubin in the lead position. His drums start the song with two slow stick-clicks, and then even as the bass and guitar lurch to life, it’s the round-and-round-we-go tom fills that most distinguish the penultimate track.

A tension set early is never really released, and as drawling spaciousness surrounds, the feeling is almost one of sensory overload. It’s the moment when Isolation most comes across like it’s going to swallow you entirely, and even when it seems like that tension is being released, it’s really just moving to another stage. Sandwiched between “Blood Moon” and “Theme II,” it is in just the right position for what it presents, and as it leaves off with noise and lets the thud and rumble of the closer — an apparent sequel to the well-feedbacked “Theme” from Spacejumbofudge — the roiling completeness of Isolation is hard to miss.

This is Sons of Otis in full-album mode, and if “Theme II” is half a song topped with noise, a more fitting summation of the fuckall represented throughout the LP preceding it is hard to imagine. A cymbal wash and residual rumble fades out at the close, and all that’s left is the hungover sense of reality-departure from which one is somewhat cruelly returned. Put your head in it — or maybe put it in your head via those fancy earbuds you’ve got there — and Isolation might just stretch you out for years. My advice is to let it do so. One never knows when the follow-up might be coming.

Sons of Otis, Isolation (2020)

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King Witch Post “Return to Dust” Video; Live Shows Announced

Posted in Bootleg Theater on September 30th, 2020 by JJ Koczan

King Witch (photo by Alan Swan)

Shovels in the woods — never a good sign. I’ll take it though when it comes as part of a new King Witch video. As one has noted several times over at this point, 2020 feels particularly rough for good records that can’t get their due owing to a lack of live performances, and hell’s bells, that couldn’t possibly be truer of King Witch‘s second LP, Body of Light (review here). The thing happened to come out through Listenable Records on April 24, which was one of the busiest release dates of the year, and it ruled, but in addition to plenty of high-profile competition for the hard-earned cash and attention of the heavy underground listenership, it also happened to be in the middle of a friggin’ plague lockdown.

Let’s understate it for a change and call those circumstances “less than optimal.” So much metallic triumph throughout Body of Light and all anyone’s thinking about is how much groceries they need to buy in one trip so they can not leave the house for the next two weeks solid. Being in such a position has led bands to try all kinds of digitalia in order to self-promote. Streams, mostly, but also live and archival releases, all sorts of whatnot. Even just increased posting on social media, whatever shape that might take. Gotta work those algorithms. In the case of powerhouse vocalist Laura Donnelly, she went out to said woods with said shovel and a camera and made a video for the eight-minute epic-because-KingWitch-only-do-epic “Return to Dust” off of Body of Light, and you know what? It worked. Frankly, I’m just happy to have an excuse to put the record on again as a part of my day.

Live shows? Well, of course the list below should be taken with the now-usual caveats that everything depends on outbreaks and what public regulations are for the dates in question. As an American though, it’s hard to remember that everyone else on the planet seems to be handling the ol’ firelung so much better than my own country. I don’t know Scotland’s numbers, but I do know that if I were lucky enough to be in Edinburgh on Dec. 5, I’d get my ass to that show and hope for more in February.

Video and dates follow, as well as some comment from Donnelly via the PR wire.


King Witch, “Return to Dust” official video

Critically acclaimed by the international press for their new album ‘Body of Light ‘ , King witch unveil today their new brand video ” Return to dust “

Laura Donnelly explains the making of this supernatural video: “I created the video during lockdown in our local forest and at home. I hope it conveys a sense of fragility whilst engulfed in heavy riffage. I think the colour and mood suits the song very well – helping to give a supernatural vibe. My neighbours however will totally think I’m a complete weirdo after hearing me almost drown in my bath several times and being caught in the woods digging a hole and burying myself. When Jamie first let me listen to the original ideas for ‘Return to Dust; I was immediately dropped into a Clint Eastwood/Ennio Morricone Spaghetti Western. The song however quickly changes to become something a lot darker. I had not long read the graphic novel Preacher and really liked the idea of mixing the supernatural with dusty desert tales. “Return to Dust” is basically about someone dying and crossing over to the other side. They are confused and frightened but the reality of the situation soon becomes clear, there is nothing to mourn. They know what they must do – return to dust.”

KING WITCH ’s ‘Body of Light’ was Recorded at Deep Storm Productions, produced and Mixed by Kevin Hare and Jamie Gilchrist and mastered by Tom Dring.

King Witch live:
12th FEB 2021 – SWANSEA – HANGER 18


King Witch are :
Laura Donnelly – Vocals
Jamie Gilchrist – Guitar
Rory Lee – Bass
Lyle Brown – Drums

King Witch on Thee Facebooks

King Witch on Instagram

King Witch on Bandcamp

Listenable Records website

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Desert Tree House Release Cactus Eater LP

Posted in Whathaveyou on September 30th, 2020 by JJ Koczan

desert tree house

Playing out across four extended tracks, the debut full-length Cactus Eater by Freiburg, Germany, desert-fuzz duo Desert Tree House was first released digitally by the band in June 2019. That’s about a year after Alpha and Pedro (the latter also of Deaf Proof) got together and started jamming, so yeah, they made pretty good time coming up with circa 45 minutes of material for the record. Safe to assume they had a pretty good idea of what they were going for, and the guitar-and-drum rawness conveys the spirit of their desert rock homage pretty smoothly, and as I apparently missed it the first time around, I’m glad to have caught wind of their doings via the news of the Cactus Eater vinyl release today through Clostridium Records.

For the converted, there’s little to argue with, and if you’re looking for some trippy groove to wander along with, the ebbs and flows of “Blue Sun Overdrive” do quite nicely. I’m not gonna say they’re changing the world — or trying to for that matter — but on a by-genre-for-genre level, they’ll get knowing heads nodding.

Stream’s at the bottom of the post if you want to check it out before you chase down a platter:

desert tree house cactus eater

Desert Tree House – Cactus Eater LP

Desert Tree House is Alpha (guitars) and Pedro (drums), an instrumental Stoner Rock duo from Freiburg (GER) delivering songs ranging from doom to psychedelic and onward toward more progressive elements.

CLOSTRIDIUM RECORDS released their kick-ass debut on vinyl on 30.09.20. As DIE HARD “Sunrise Skytrip” edition in transparent and black with red and white splatter (incl. exklusive CACTUS EATER THE VOCAL SESSIONS CD feat Anti Man (Vocals LOA RIDE) & Isa (Vocals SOUND OF SMOKE), download code, poster and beer mat) or in classic black (incl. download code and beer mat).

This gorgeous LP treatment will maximize the enjoyment of listening to CACTUS EATER!

Desert Tree House is Alpha on guitar and Pedro on drums, an instrumental Stoner Rock duo from Freiburg, Germany, founded in mid 2018.

For these two men, it is all about the music, any fan of the Stoner style will thoroughly enjoy their brand of music as their debut CACTUS EATER with four songs, most of them running over 10 minutes, delivers catchy melodies and Psychedelica in a Truckfighters Style (“Cactus Eater”), a really heavy, doomy stonergroove like Kyuss did (“Cyancali Desert”), straight-forward rocking (“Dry Valley”) or bluesy and progressive stuff (“Blue Sun Overdrive”). And it’s not a simple citation or an arbitrary mixture, it’s a unique sound, it is pure riff worshipping for mind and soul!

Alpha also plays in Zim Zum Crash for years and Pedro is part of the Psychedelic Stoner band Deaf Proof founded in 2006 and of Heavy Water Cult (Alternative Stoner), which started 2016. They are also the founding members of the four-piece Doom band Brocken which has been around since 2017.

Their thorough and methodic approach to their music helped the two men move quickly from their initial session right onto the stage in June, and their efforts were quickly rewarded as they soon were opening for bands like Elder from the States, the Great Machine from Israel, the Re-Stoned from Russia, or even one of Germany’s own Stoner stalwarts: Rotor.


Desert Tree House, Cactus Eater (2019)

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Ruff Majik Post “Lead Pills and Thrills” Video; The Devil’s Cattle out Oct. 30

Posted in Bootleg Theater on September 30th, 2020 by JJ Koczan

ruff majik

Led by piano from band-newcomer Evert Snyman, who also handles lead vocals in the track with guitarist Johni Holiday taking over for the hook, “Lead Pills and Thrills” follows behind “All You Need is Speed” and “Who Keeps Score” as the third video the South African former-trio-now-five-piece have done leading up to the Oct. 30 release of their third album, The Devil’s Cattle. The band aren’t strangers to video media by any stretch, but the cinematic nature of “Lead Pills and Thrills” only seems to underscore the new dynamic that inevitably is embodied in the record, as Snyman and Holiday share vocalist and songwriting duties and bassist/guitarist Jimmy Glass shares those roles with Cowboy Van, who also adds backing vocals, keys and harmonica to the proceedings, while Benni Manchino drums. Madness of an even richer variety than that which took place across 2019’s Tårn (review here).

Though I’ll confess I’ve got it on as I write this, I’m going to resist the temptation to start talking about The Devil’s Cattle in full as I’m hoping to set up coverage closer to the release. Still, “Lead Pills and Thrills” puts emphasis on Ruff Majik‘s progression, and that would seem to be where the emphasis belongs, those for anyone who picked up on them via Tårn or 2018’s Seasons (review here), they remain almost instantly recognizable. The clip below, rife with zombies in all their visual-metaphor glory, is on theme from the Flash-animated “Who Keeps Score,” the charm of which extended all the way down to the “Thriller” dancing happening before the final confrontation. I’ve posted that, as well as the lyric video for album-opener “All You Need is Speed” below, in case you want to get caught up on all of it. And, again, as I’m listening to the album right now, you probably do.

The PR wire’s got plenty to say about it. Find that under the video below.

And please enjoy:

Ruff Majik, “Lead Pills and Thrills” official video

DOWNLOAD / STREAM: https://orcd.co/leadpillsandthrills

Album Pre-Order / Pre-Save: https://orcd.co/thedevilscattle

“Lead Pills And Thrills” is the third single to be released from our upcoming album “The Devil’s Cattle”. It’s the first one to feature both Evert and Johni front and centre on vocal duties, and also the first time the band experimented with piano driven rock ‘n roll. Lyrically, the song deals with crippling addiction (to both lost love and alcohol).

The video is the conceptual follow up for the animated feature “Who Keeps Score”. Jimmy and Johni are both out in the wasteland, being pursued by zombies. Evert has been taken hostage by a zombie horde to be the personal piano man for their bar – and Jimmy and Johni set out to rescue him. Once there, they discover they have fallen right into a clumsily planned trap.

“Lead Pills And Thrills” (as with the previous videos and album art) is a love letter to B-grade horror and action movies, and this vision was captured perfectly by Tiger And Lilly Productions.

“When hell is full, the dead will walk the earth – turns out they like rock ‘n roll too.” – frontman, Johni Holiday


Starring: Johni Holiday, Evert Snyman and Jimmy Glass.
Also starring: Ella, Anni, Brendon, Innes, Finn, Terry, Gert, Scrone, Allas, Wilco, Henkie, Bez, Cassie, Eaton, Katja and Roelof as zombies.
Art Direction and M.U.A: Karien Goosen and Jessica Young
Video Production: Tiger and Lilly Productions
Poster design and title design: Annemarie Buchner

Special thanks to Terrence, Iggy and Casey for the use of Shamrock, and to Tiaan for the use of the worlds biggest motorcycle.

Johni Holiday – guitar, vocals
Cowboy Van – guitar, bass, backing vocals, keys, harmonica
Jimmy Glass – bass, guitar
Evert Snyman – guitar, vocals, keys, percussion
Benni Manchino – drums, percussion

Ruff Majik, “Who Keeps Score” official video

Ruff Majik, “All You Need is Speed” lyric video

Ruff Majik website

Ruff Majik on Thee Facebooks

Ruff Majik on Instagram

Mongrel Records website

Mongrel Records on Thee Facebooks

Mongrel Records on Instagram

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