Quarterly Review: Torche, Spillage, Pharlee, Dali’s Llama, Speedealer, Mt. Echo, Monocluster, Picaporters, Beaten by Hippies, Luna Sol

Posted in Reviews on July 3rd, 2019 by JJ Koczan

quarterly-review

We meet again. The Summer 2019 Quarterly Review. It’s four in the morning and I’m getting ready to start the day. I haven’t even managed to pour myself coffee yet, which even as I type it out feels like a crime against humanity, such as it is. I’ll get there though.

Wednesday in the Quarterly Review marks the halfway point of the week, and as we’ll hit 30 reviews at the end, it’s half of the total 60 as well, so yeah. Feeling alright so far. As always, good music helps. I’ve added a couple things for consideration to my ongoing best-of-the-year list for December, so that’s something. And I think I’ll probably be doing so again today, so let’s get to it.

Quarterly Review #21-30:

Torche, Admission

torche admission

15 years later and Torche‘s sound is still expanding. To that point, it’s never sounded quite as expansive as it does on Admission, their fifth album and second for Relapse behind 2015’s Restarter (review here). There are still plenty of straight-ahead heavy riffs on cuts like “Reminder” or “Slide” or the bomb-tone-laden “Infierno,” but in the title-track, in “Times Missing,” the closer “Changes Come,” “Slide” and even the 1:30-long “What Was,” there’s a sense of spaciousness and float to the guitars to contrast all that crunch, and it effectively takes the place of some of the manic feel of their earlier work. It’s consistent with the brightness of their melodies in songs like “Extremes of Consciousness” and the early pusher “Submission,” and it adds to their style rather than takes away, building on the mid-paced feel of the last album in such a way as to demonstrate the band’s continued growth long after they’d be well within their rights to rest on their laurels. Sharp, consistent in its level of songwriting, mature and engaging across its 36-minute entirety, Admission is everything one might ask of Torche‘s fifth album.

Torche on Thee Facebooks

Relapse Records website

 

Spillage, Blood of Angels

spillage blood of angels

If you, like me, believe doom to be the guardian style of classic heavy metal — you could also argue power metal there, but that’s why it’s an argument — Chicago’s Spillage might be the band to help make your case. With their own Ronnie James Dio in Elvin Rodriguez (not a comparison I make lightly) and a connection to the Trouble family tree via founding guitarist Tony Spillman, who also played in Earthen Grave, the band unfurl trad-metal poise throughout their 53-minute second album, Blood of Angels, hitting touchstones like Sabbath, Priest, and indeed Trouble on a chugger like “Free Man,” a liberal dose of organ on “Rough Grooved Surface” adding to the classic feel — Rainbow, maybe? — and even the grandiose ballad “Voice of Reason” that appears before the closing Sabbath cover “Dirty Women” staying loyal to the cause. I can’t and won’t fault them for that, as in both their originals and in the cover, their hearts are obviously in it all the way and the sound is right on, the sleek swing in the second half of “Evil Doers” punctuated by squealing guitar just as it should be. Mark it a win for the forces of metal, maybe less so for the angels.

Spillage on Thee Facebooks

Qumran Records on Thee Facebooks

 

Pharlee, Pharlee

pharlee pharlee

San Diego strikes again with Pharlee‘s self-titled debut on Tee Pee Records, a 29-minute boogie rock shove that’s marked out by the significant pipes of Macarena Rivera up front, the shuffling snare work of Zach Oakley (also guitar in JOY and Volcano) and the organ work of Garret Lekas throughout, winding around and accentuating the riffs of Justin “Figgy” Figueroa and the air-push bass of Dylan Donovan. It’s a proven formula by now, but Pharlee‘s Pharlee is like the band who comes on stage in the middle of the festival and surprises everyone and reminds them why they’re there in the first place. The energy of “Darkest Hour” is infectious, and the bluesier take on Freddie King‘s “Going Down” highlights a stoner shred in Figueroa‘s guitar that fits superbly ahead of the fuzz freakout, all-go closer “Sunward,” and whatever stylistic elements (and personnel, for that matter) might be consistent with their hometown’s well-populated underground, Pharlee take that radness and make it their own.

Pharlee on Thee Facebooks

Tee Pee Records website

 

Dali’s Llama, Mercury Sea

dalis llama mercury sea

Long-running desert rockers Dali’s Llama return with Mercury Sea, their first release since 2017’s The Blossom EP (review here) and their first full-length since 2016’s Dying in the Sun (review here), sounding reinvigorated in rockers like opener “Weary” and the subsequent grunge-vibing “Choking on the Same,” “When Ember Laughs” and the garage-style “She’s Not Here.” Persistently underappreciated, their albums always have a distinct feel, and Mercury Sea is no different, finding a place for itself between the laid-back desert blues and punkier fare on a cut like “Someday, Someday,” even delving into psychedelic folk for a while in the 6:54 longest track “Goblin Fruit,” and a bit of lead guitar scorch bringing it all together on closer “All My Fault,” highlighting the theme of love that’s been playing out all the while. The sincerity behind that and everything Dali’s Llama does is palpable as ever in these 11 tracks, an more than 25 years on from their inception, they continue to deliver memorable songs in wholly unpretentious fashion. That’s just what they do.

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

 

Speedealer, Blue Days Black Nights

speedealer blue days black nights

Speedealer ride again! And just about at top speed, too. The Dallas, Texas, outfit were last heard from circa 2003, and their turnabout is marked with the self-release of Blue Days Black Nights, a fury-driven 10-tracker that takes the best of their heavy-rock-via-punk delivery and beefs up tones to suit another decade and a half’s worth of hard living and accumulated disaffection. The Dallas four-piece blaze through songs like “Never Knew,” the hardcore-punk “Losing My Shit,” the more metallic “Nothing Left to Say,” and the careening aggro-swagger of “Rheumatism,” but there’s still some variety to be had throughout, as highlight “Sold Out,” “War Nicht Genung” and “Shut Up” find the band no less effective working at a somewhat scaled-back pace. However fast they’re going, though the attitude remains much the same, and it’s “fuck you fuck this” fuckall all the way. Those familiar with their past work would expect no less, and time has clearly not repaired the chip on Speedealer‘s shoulder. Their anger is our gain.

Speedealer on Thee Facebooks

Speedealer webstore

 

Mt. Echo, Cirrus

mt echo cirrus

Based in Nijmegen, the Netherlands, the instrumentalist four-piece Mt. Echo present a somewhat noisier take on Russian Circles-style heavy post-rock with their nine-song/46-minute debut, Cirrus. Not at all shy about incorporating a noise rock riff or a more weighted groove, the dual-guitar outfit nonetheless spend significant time patiently engaged in the work of atmosphere-building, so that their material develops a genuine ebb and flow as songs tie one into the next to give the entire affair a whole-album feel. It is their first outing, but all the more striking for that in terms of how much of a grip they seem to have on their approach and what they want to be doing in a song like “Lighthouse at the End of Time” with airy lead and chugging rhythm guitars intertwining and meeting head-on for post-YOB crashes and an eventual turn into a harder-pushing progression. Ambience comes (mostly) to the fore in the seven-minute “Monsters and the Men Who Made Them,” but wherever they go on Cirrus, Mt. Echo bring that atmospheric density along with them. The proverbial ‘band to watch.’

Mt. Echo on Thee Facebooks

Mt. Echo on Bandcamp

 

Monocluster, Ocean

Monocluster Ocean

Over the course of five longform tracks on Ocean, Germany’s Monocluster build fluidly on the accomplishments of their 2015 self-titled debut (review here), greatly expanding on the heft and general reach of their sound while, as opener “Ocean in Our Bones” demonstrates, still holding onto the ability to affect a killer hook when they need one. Ocean is not a minor undertaking at 56 minutes, but it dedicates its time to constructing a world in cuts like “Leviathan” and “A Place Beyond,” the giant wall of fuzzed low end becoming the backdrop for the three-part story being told that ends with the 11:43 “Home” standing alone, as graceful and progressive as it is brash and noisy — a mirror in that regard to the nine-minute centerpiece “Guns and Greed” and a fitting summation of Ocean‘s course. They keep this up for very long and people are going to start to notice. The album is a marked step forward from where Monocluster were a few years ago, and sets up the expectation of continued growth their next time out while keeping a focus on the essential elements of songwriting as well. If we’re looking for highlights, I’d pick “Leviathan,” but honestly, it’s anyone’s game.

Monocluster on Thee Facebooks

Monocluster on Bandcamp

 

Picaporters, XXIII

picaporters xxiii

The third full-length from Argentine trio Picaporters marks another level of achievement for them as a band. XXIII arrives three years after El Horror Oculto (review here) and is unquestionably their broadest-cast spectrum to-date. The album comes bookended by eight-minute opener “La Soga de los Muertos” and “M.I.,” an 18-minute finale jam that would give a Deep Purple live record reason to blush. Soulful guitar stretches out over a vast rhythmic landscape, and all this after “Jinetes del Universo” motorpunks out and “Vencida” pulls together Floydian melo-prog, “Numero 5” precedes the closer with acoustic interplay and the early “Despertar” offers a little bit of everything and a lot of what-the-hell-just-happened. These guys started out on solid footing with their 2013 debut, Elefantes (review here), but neither that nor El Horror Oculto really hinted at the scope they’d make sound so natural throughout XXIII, which is the kind of record that leaves you no choice but to call it progressive.

Picaporters on Thee Facebooks

Picaporters on Bandcamp

 

Beaten by Hippies, Beaten by Hippies

beaten by hippies beaten by hippies

As their moniker hints, there’s some edge of danger to Belgium’s Beaten by Hippies‘ self-titled debut (on Polderrecords), but the album ultimately resolves itself more toward songwriting and hooks in the spirit of a meaner-sounding Queens of the Stone Age in songs like “Space Tail” and “More is More,” finding common ground with the energy of Truckfighters though never quite delving so far into fuzzy tones. That’s not at all to the band’s detriment — rather, it helps the four-piece begin to cast their identity as they do in this material, whether that’s happening in the volatile sudden volume trades in “Dust” or the mission statement “Rock ‘n’ Roll,” which feels geared a bit to the anthemic but would probably work just as well in whatever pub they happen to be terrorizing on a given evening. Their delivery skirts the line between heavy and hard rock as only that vaguely commercially viable European-style can, but the songs are right there waiting to take the stage at whatever festival is this weekend and blow the roof — or the sky, I guess, if it’s outdoors — off the place.

Beaten by Hippies on Thee Facebooks

Polderrecords website

 

Luna Sol, Below the Deep

luna sol below the deep

Guitarist/vocalist Dave Angstrom may be best known in heavy rock circles for his work alongside John Garcia in Hermano, but in leading the four-piece Luna Sol through their 12-song/50-minute sophomore outing, Below the Deep (on Slush Fund Recordings), he proves a capable frontman as well as songwriter. Sharing vocal duties with bassist Shannon Fahnestock while David Burke handles guitar and Justin Baier drums, Angstrom is a steady presence at the fore through the well-constructed ’90s-flavored heavy rock of “Below the Deep” and “Along the Road” early, the later “Garden of the Gods” playing toward a more complex arrangement after the strutting “The Dying Conglomerate” paints a suitably grim State of the Union and ahead of the fuzz-rich ending in “Home,” which keeps its melodic purpose even as it crashes out to its languid finish. Whether it’s the charged “Man’s Worth Killin'” or the winding fuzz of “Mammoth Cave,” one can definitely hear some Hermano at work, but Luna Sol distinguish themselves just the same.

Luna Sol on Thee Facebooks

Slush Fund Recordings webstore

 

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The Obelisk Show on Gimme Radio Recap: Episode 13

Posted in Radio on April 1st, 2019 by JJ Koczan

gimme radio logo

This was a good one. After last episode, which was kind of working on a theme of balancing different kinds of heavy against each other, it felt rewarding to just get down to business and play some tunes without worrying really about some grander statement. Plus, during the voice breaks I got to bitch about having a cold, and you know I loves me some complaining. What other recourse is there for such a condition? DayQuil? Well, okay, yes, but also complaining.

Anyway, it starts with new Valley of the Sun because golly goodness golly golly is that record good, and then there’s some High Reeper, and then Saint Vitus because I’m still so gosh darn proud of having premiered that track that I included it basically as a gloat to myself. It’s mostly new music this time, which is how I like it, but I’ll say that in doing my typical classic-track thing, the intro to Electric Wizard‘s “Funeralopolis” is the best one I’ve ever done. Look out for the Centrum and Sigils tracks — both are marvelous — and though I was basically late to the party on Mammoth Grove‘s Slow Burn, which came out last year, “Gloria” makes an excellent closer to the set, which doesn’t really have a miss in the bunch. Again, it was a good one.

Note the second airing has moved from Tuesday morning to Thursday morning. It’ll be this Thursday at 6AM Eastern, which I’m calling the “Euro airing,” which means it comes with universal healthcare and old buildings, I guess. That’ll be fun, and hopefully the cold will be gone by then, because it certainly isn’t yet.

Here’s the full playlist:

The Obelisk Show – 03.31.19

Valley of the Sun Means the Same Old Gods*
High Reeper Eternal Leviathan Higher Reeper*
Saint Vitus Bloodshed Saint Vitus*
BREAK
La Grande Armée Normandía La Grande Armée*
Sigils Faceless You Built the Altar, You Lit the Leaves*
Pyramidal Digital Madness Pyramidal*
Spaceslug Ahtmosphere Split with Major Kong, Dopelord & Weedpecker*
BREAK
Electric Wizard Funeralopolis Dopethrone
Abrahma Lost Forever In Time for the Last Rays of Light*
Centrum Stjärnor För Meditation*
The Devil and the Almighty Blues Salt the Earth Tre*
BREAK
Monocluster Leviathan Ocean*
Mammoth Grove Gloria Slow Burn

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Thursday at 6AM. Next show is April 14. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Quarterly Review: Corrections House, Antimatter, Colossus, Bastard Lord, Monocluster, Valley, Shatner, Australasia, The Moth Gatherer, Super Witch

Posted in Reviews on January 6th, 2016 by JJ Koczan

the obelisk quarterly review winter

Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.

Quarterly review #21-30:

Corrections House, Know How to Carry a Whip

corrections house know how to carry a whip

Since they made their debut as a unit in 2013 with Last City Zero (also on Neurot), the don’t-call-it-a-supergroup Corrections House – vocalist Mike Williams (Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.

Corrections House on Thee Facebooks

Neurot Recordings

Antimatter, The Judas Table

The Judas Table

Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.

Antimatter on Thee Facebooks

Prophecy Productions

Colossus, The Breathing World

colossus the breathing world

Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”

Colossus on Thee Facebooks

Colossus on Bandcamp

Bastard Lord, Bastard Lord

bastard lord bastard lord

One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.

Bastard Lord on Thee Facebooks

Twin Earth Records

Monocluster, Monocluster

monocluster monocluster

One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.

Monocluster on Thee Facebooks

Monocluster on Bandcamp

Valley, Sunburst

valley sunburst

I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.

Valley on Thee Facebooks

Version Studio Records

Shatner, EP

shatner ep

An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.

Shatner on Thee Facebooks

Shatner on Bandcamp

Australasia, Notturno

australasia-notturno

Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.

Australasia on Thee Facebooks

Apocalyptic Witchcraft Recordings

The Moth Gatherer, The Earth is the Sky

the moth gatherer the earth is the sky

Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on Agonia Records). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.

The Moth Gatherer on Thee Facebooks

Agonia Records

Super Witch, Super Witch has Risen

super witch super witch has risen

You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.

Super Witch on Thee Facebooks

Super Witch on Bandcamp

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