Posted in Whathaveyou on July 8th, 2021 by JJ Koczan
Hey kid, you like live shows? Think you can get behind a three-day/20-band extravanganza spread out over a couple weeks in Bristol? Fucking a right you can. Snuff Lane presents the aptly-named Return of the Riff show series, with three nights of killer UK-native acts doing what they do in celebration of reemerging from out of the grips of the COVID-19 pandemic. My understanding is the UK is getting ready to completely open up, so hey, these shows might even happen. Pretty rad. And so are the lineups.
You can see below the headliners respectively are Desert Storm, Ken Pustelnik’s Groundhogs and Slabdragger — all worthy — but note too the inclusion of Desert Storm offshoot Wall, as well as Sigiriya and Ritual King, Cybernetic Witch Cult (who have a new lineup) and perennial favorites Chubby Thunderous Bad Kush Masters. Wren and Trevor’s Head and Ten Foot Wizard and Old Man Lizard on back-to-back nights? I won’t get to see any of it, but hell’s bells I’m glad it exists.
Info follows here, courtesy of the PR wire. If you make it to Bristol, enjoy:
Return of the Riff – Bristol, July-August ‘21
To celebrate the return of live music within England, we are uncontrollably excited to have teamed up with The Crofters Rights, Bristol to host ‘Return of the Riff’.
Three events with heavily stacked line-ups, offering rare performances with some of the UK’s finest Riffslingers within an intimate setting. We are excited to finally unveil the full line-up; now boasting 20 artists, across 3-days.
Sunday 25th July now hosts Brighton born post-hardcore, sludgy post-rockers Earth Moves, (formed of members from We Never Learned To Live, Grappler, and Cloud Boat).
Sadly, due to the drummer breaking his leg, 1968 have had to withdraw from Saturday 8th July’s RotR. They are now replaced by both Bristol-based three-piece psychedelic post-rockers Mammoth Toe, and stonerpunks from the sewers of Surrey, Trevor’s Head.
Saturday 7th August ’21 ~ 16:00 – 22:30 Ken Pustelnik’s Groundhogs + Sigiriya + Ritual King + Suns of Thunder + Trevor’s Head + Mammoth Toe
Sunday 8th August ’21 ~ 16:00 – 23:30 Slabdragger + Ten Foot Wizard + Wren + Chubby Thunderous Bad Kush Masters + Old Man Lizard + Made of Teeth + The Malefic Grip
Posted in Whathaveyou on March 9th, 2021 by JJ Koczan
The UK being the hotbed that it has been for heavy acts over the last, say, 50 years, I guess you can do this kind of two-day festival there comprised mostly if not entirely of homegrown outfits and still have it be botha show well worth seeing — think the borders will be open by September? — and the kind of thing where you could easily add another day of bands. I don’t know what social-distancing regulations will be in place in Manchester come end of summer, and to be perfectly honest with you, I don’t care. Elephant Tree and Conan headlining a two-dayer after live music has been on pause for a year and a half? That’s a gig worth watching if the floor’s made of lava, never mind whether or not you’ve been vaccinated.
People gonna be d-r-u-n-k.
I probably don’t need to tell you how refreshing I find it to see a list of logos and band names on a poster, even one with a cartoon butt. Again, I don’t care. I’ll take what I can get at this point.
Friggin’ Sigiriya? Chubby Thunderous? It’d be like five years’ worth of the UK-based bands I’d love to see all piled onto one bill.
Alas:
Finally the day has come to release the line-up we’ve been so eager to share with you all.
We know it was a great disappointment not to be able to host shows in 2020, but this is set to be such a monster of a weekend to make up for it.
Special thanks to the support from our partners in Lizard King Promotions / Stonebaked Promotions / The Sophie Festival
Posted in Reviews on January 9th, 2020 by JJ Koczan
Yesterday was marked by a decisive lack of productivity. I got there, don’t get me wrong, but it took friggin’ forever to make it happen. I’m obviously hoping for a different result today and tomorrow. You would think 10 records is 10 records, but some days it’s easy flowing, bounce from one to the next without any trouble, and some days you’re me sitting there wondering how many times you can get away with using the word “style” in the same post. Punishing. The saving factor was that the music was good. Amazing how often that serves as the saving factor.
Just today and tomorrow left, so let’s dive in. Lots of different kinds of releases today, so keep your ears and mind open.
Quarterly Review #31-40:
We Lost the Sea, Triumph and Disaster
There is plenty of heavy post-rock floating — and I do mean floating — around these days, spreading ethereal and contemplative vibes hither and yon, but none have the emotional weight brought to bear instrumentally by Sydney, Australia’s We Lost the Sea. Across their 65-minute 2LP, Triumph and Disaster (on Translation Loss), the six-piece band recount a wordless narrative of the aftermath of the end of the world through the eyes of a mother and child on their last day. It is a touching and beautiful flow of sentiment, regret and weight that comes through the wash of three guitars and synth, bass and drums, and though 2015’s Departure Songs (review here, discussed here) worked in a similar vein in terms of style if not story, these seven tracks and 65 minutes are wholly distinguished by a willful-seeming progression on the part of the band and a patience and poise of execution as they alternate between longer and shorter pieces that only underscores how special their work truly is. At least the apocalypse is gorgeous.
Nothing against the progenitors of the form, but Nebula Drag seem with Blud to pull off the feat that Helmet never really could, bringing together a noise-rock derived dissonance of riff with a current of melody in the vocals and even moments of patience in the guitar to go along with the crunch of its more aggressive points. This inherently makes the Desert Records offering from the San Diego outfit a less outwardly intense affair than it might otherwise be, but songs like “Always Dying,” “Numb” and the closer “Mental” — as well as the album as a whole — are ultimately richer for it, and there’s still plenty of drive in opener “Dos Lados” and the shorter “Faces” and “What Went Wrong,” which arrive back to back on side B and lend the momentum that carries Nebula Drag through the remainder of the proceedings. It’s easy to hear to Blud superficially and pass it off as noise or heavy rock or this or that, but Nebula Drag earn and reward deeper listens in kind.
Los Angeles oppressive and misanthropic noise project Nothing is Real manifested some of the harshest sounds I heard in 2019 on Only the Wicked are Pure (review here), and the just-months-later follow-up, Pain is Joy, reminds of the constant sensory assault under which we all seem to live. Across five extended tracks of increased production value — still raw, just not as raw — the band seems to be forming a coherent philosophical perspective in “Existence is Pain,” the guest-vocalized “Realms of Madness,” “Life is but a Dream,” “Pain is Joy,” and “We Must Break Free,” but if there’s a will to explain the punishment that is living, there’s not much by way of answer forthcoming in the sludgy riffing, grinding onslaught and surprising solo soar of “We Must Break Free,” instrumental as it is. Still, the fact that Pain is Joy allows for the possibility of joy to exist at all, in any form, ever, distinguishes it from its predecessor, and likewise the clearer sound and cogent expressive purpose. A focused attack suits Nothing is Real. I have the feeling it won’t be long before we find out where it takes the band next.
If the name Oresteia isn’t immediately familiar, maybe “Agamemnon” will give some hint. San Francisco’s Lotus Thief, with their third full-length and second for Prophecy Productions, not only bring together progressive black metal, post-rock and drama-laced doom, but do so across eight-tracks and 38 minutes summarizing a 5th century Greek tragedy written in three parts. Ambitious? Yes. Successful? I’ll claim zero familiarity with the text itself, but for the eight-minute “Libation Bearers” alone — never mind any of the other immersive, beautiful wash the band emits throughout — I’m sure glad they’re engaging with it. Ambient stretches like “Banishment” and “Woe” and the barely-there “Reverence” add further character to the proceedings, but neither are “The Furies,” “Agamemnon,” “Sister in Silence” or subdued-but-tense closer “The Kindly Ones” lacking for atmosphere. Oresteia is grim, theatrical, stylistically forward-thinking and gorgeous. A perfect, perfect, perfect winter record.
Chugging, sprawling, and most of all reaching, the late-2019 debut LP, Our Unworn Limbs, from Ontario as-yet-solo-outfit Uncle Woe — composed, performed and recorded by Rain Fice — is one of marked promise, taking elements of modern progressive and cosmic doom from the likes of YOB‘s subtly angular riffing style and unfolding them across an emotionally resonant but still manageable 43-minute span. The stomp in “That’s How They Get You” is duly oppressive in following the opener “Son of the Queen,” but with the one-minute experiment “When the Night Fell Pt. 2” and jagged but harmonized “Mania for Breaking” ahead of 15-minute closer “Push the Blood Back In,” the record’s tumult and triumphs are presented with character and a welcome feeling of exploration. I would expect over time that the melodic basis and vocal presence Fice demonstrates in “Mania for Breaking” will continue to grow, but both are already significant factors in the success of that song and the album surrounding it, the first 20-plus minutes of which is spent mired in “Son of the Queen” and “That’s How They Get You,” as early proof of the sure controlling hand at the helm of the project. May it continue to be so.
Guitarist/vocalist Alex Wyld, bassist Doug MacKinnon and drummer Lewis May have processed the world around them and translated it into a riffy course of sci-fi and weirdo semi-prog thematics across Absurdum ad Nauseam. What else to call such a thing? At eight songs and 52 minutes, it stands astride the lines between heavy rock and doom and sludge in lengthier pieces like “The Cetacean,” “The Ivory Tower” and the finale “Hypercomputer Part 2,” yet when it comes to picking out discernible influences, one has to result to generalizations like Black Sabbath and Acrimony, the latter in the rolling largesse of “Spice” and “The Myth of Sisyphus” later on in the outing and the vocal effects there particularly, but neither is enough to give a sense of what Cybernetic Witch Cult are actually about in terms of the modernity of their approach and the it’s-okay-we-know-what-we’re-doing-just-trust-us vibe they bring as they rush through “Cromagnonaut” after the intro and “Hypercomputer Part 1.” I’m inclined to just go with it, which should tell you something in itself about the band’s ability to carry their listener through. They earn that trust.
Heavy blues meets heavy metal on Your Highness‘ self-titled and self-released third album, collecting eight tracks that divide evenly across two sides of an LP, each half ending with a longer piece, whether it’s “Black Fever” (9:00) on side A or “Kin’s Blood” (14:14) on side B. Through these, in full-throttle movements like opener “Devil’s Delight” and “Rope as a Gift” and in nestled-in groovers like “The Flood” and “To Wood and Stone,” Your Highness don’t shy away from bringing a sense of atmosphere to their material, but maintain a focus on burl, gruffness and tonal weight, an aggressive undercurrent in a song like “Born Anew” — the riff to which is nonetheless particularly bluesy — being emblematic of the perspective on display throughout. It moves too fleetly to ever be considered entirely sludge, but Your Highness‘ 51-minute span is prone to confrontation just the same, and its ferocious aspects come to a head in satisfying fashion as the wash of crash pays off “Kin’s Blood,” shouts cutting through en route to a finish of acoustic guitar that lands as a reminder to release the breath you’ve been holding the whole time. Heavy stuff? Why yes, it is.
Italy’s fervor for stoner rock is alive and well as represented in Demonic Sunset, the eight-song/34-minute debut full-length from Catanzaro’s Deep Valley Blues. Their sound works out to be more heavy rock than the desert one might imagine given the album cover, but that influence is still there, if beefed up tonally by guitarists Alessandro Morrone and Umberto Arena (the latter also backing vocals), bassist/vocalist Giando Sestito and drummer Giorgio Faini, whose fluid turns between propulsion and swing enable a song like “Dana Skully” to come together in its verse/chorus transitions. The penultimate nine-minute “Tired to Beg For” is an outlier among more straight-ahead songwriting, but they use the time well and close with the acoustic-led “Empire,” an encouraging showcase of sonic breadth to follow up on the start of “Lust Vegas” and a widening of the melodic range that one hopes Deep Valley Blues push further on subsequent releases. Centered around issues of mental health in terms of its lyrics, if somewhat vaguely, Demonic Sunset is a first LP that extends its focus to multiple levels while still keeping its feet on the ground in a way that will be familiar to experienced genre heads.
You can toss a coin as to whether Sky Shadow Obelisk are death-doom or doom-death, but as you do, just keep an eye on the bludgeoning doled out by the solo-project of Rhode Island-based composer Peter Scartabello on his latest EP, The Satyr’s Path, because it is equal parts thorough and ferocious. Flourish of keys and melody adds a progressive edge to the proceedings across the five-track release, particularly in its two instrumentals, the centerpiece “Ouroboros” and the first half of closer “Shadow of Spring,” but amid the harnessed madness of “Chain of Hephaestus” — which from its lyrics I can only think of as a work song — and the one-two of “The Serpent’s Egg” and the title-track early on, those moments of letup carry a tension of mood that even the grand finish in “Shadow of Spring” seems to acknowledge. It’s been since 2015 that Scartabello last offered up a Sky Shadow Obelisk full-length. He shows enough scope here to cover an album’s worth of ground, but on the most basic level, I’d take more if it was on offer.
Following up on a 2015 self-titled the material on Minus Green‘s sophomore album, Equals Zero, would seem to have at least in part been kicking around for a couple years, as the closer here, “Durial” (11:22) was released in a single version in 2016. Fair enough. If the other three cuts, opener “Primal” (9:58), “00” (11:51) and the penultimate “Kames” (10:08), have also been developed over that span, the extra rumination wouldn’t seem to have harmed them at all — they neither feel overthought to a point of staleness nor lack anything in terms of the natural vibe that their style of progressive instrumentalist heavy psychedelia warrants. The procession unfolds as a cleanly-structured LP with two songs per side arranged shorter-into-longer, and their sound is duly immersive to give an impression of exploration underway without being entirely jam-based in their structure. That is, listening to “00,” one gets the feeling it’s headed somewhere, which, fortunately it is. Where it and the record surrounding go ultimately isn’t revolutionary in aesthetic terms, but it is well performed and more than suitable for repeat visits. Contrary to the impression they might seek to give, it amounts to more than nothing.
Posted in Bootleg Theater on November 20th, 2019 by JJ Koczan
UK sludge rockers Cybernetic Witch Cult are edging closer to the Dec. 6 self-release of their new album, Absurdum ad Nauseam, and in the new video for the cleverly-titled “Cromagnonaut,” they would seem to be asking the question of whether humanity is moving at too quick a pace in its self-driven evolution. I gotta say, dudes. Look around. The planet? It’s fucking on fire. And evolution ain’t the problem. The problem is morons. Too many morons, not enough evolution. Hell, throw in a little natural selection while you’re at it and let some of the relocated climate change polar bears start eating a few of these overlord dumbasses — even though they wouldn’t. The dumbasses live behind gates. The bears would do the exact opposite of what we need and eat the poor and we all know it. That’s no use to anyone.
Polar bears as a means to inciting a Marxist socialist paradise? Fucking if only.
But anyway, “Might we be evolving too fast for our own good?” is a question bound to provoke an answer one way or the other. I know that while I listened in the background to impeachment hearings and as I think about Boris Johnson dismantling the UK government because… …. … hang on… nope… uh…
So anyway, I don’t think we’re evolving too fast. Maybe ask the coral reef how it feels about human evolution and our warped idea of what it means. I agree we are an infant species. With nuclear weapons.
Phew, I’m exhausted.
Cybernetic WitchCult‘s actual video for the song chronicles one of the many UK back-and-forths they’ve done over the last couple years, and it looks like the band are a good time live. Everybody nods and has fun and stops thinking for five minutes about how the world is collapsing. Seems nice.
Enjoy:
Cybernetic Witch Cult, “Cromagnonaut” official video
Taken from the upcoming album: ‘Absurdum ad Nauseam’ (Self release, 6th December 2019)
‘Cromagnonaut’ is examining the human race as being an infant species, and how stone age humans are now essentially piloting spaceships. Might we be evolving too fast for our own good? Can we spread life amongst the stars and preserve the 4.5 billions years worth of evolution before it gets wiped out?
This video was filmed entirely on our October 2019 tour. Special thanks to Mother Vulture, Morass of Molasses and Victus for filming our sets and the venues: Underground (Plymouth), Firehouse (Southampton), Cavern (Exeter), Jacobs Ladder (Falmouth), Wheatsheaf (Banbury), Edge of the Wedge (Portsmouth), The Ship (Weymouth). Hope you enjoy!
Credits: Editor / Production | Alex Wyld Camera Assistant | Bones, Georgi, Brodie, Klayton, Sam. Musicians | Alex Wyld, Doug MacKinnon, Lewis May Music Production | Cro’s Nest, Sam Thredder Artwork| Aimee Wyld
Cybernetic Witch Cult are: Alex Wyld – Vocals & Guitar Doug MacKinnon – Bass Guitar Lewis May – Drums & Percussion
Posted in Whathaveyou on October 14th, 2019 by JJ Koczan
This past weekend, UK heavy rock weirdos Cybernetic Witch Cult unveiled the first single from their upcoming third album, Absurdum ad Nauseam. As you might expect given the title, it’s intended as a commentary on the current state of, well, everything I guess, and the video below for “The Myth of Sisyphus” finds the band having a ball — of their own making, no less — out in the woods. Of course, thematically, it’s not all fun and games, but if you can appreciate absurdity there’s certainly enough of it to go around. The full-length will be self-released on Dec. 6, so should get some attention as a late arrival to wind down a busy year, and to herald its coming, the trio will head out from their hometown in Cornwall to do a round of English touring.
Those dates, the video, and copious background all came down the PR wire like so:
Cybernetic Witch Cult: New album – New video – UK Tour this October!
Cornwall’s finest psychedelic stoner rock band, Cybernetic Witch Cult, will release a new studio album this December following an extensive tour and video premiere in October.
As seen live at Bloodstock Open Air and headlining 2018’s HRH’s Doom V Stoner Festival second stage; Cybernetic Witch Cult’s third album ‘Absurdum ad Nauseam’ sees the trio focusing and honing in on key sonic elements to elevate their own unique perception and create a heavier experience for listeners, without losing the progressive and 70s influences the band are well known for.
“The song is about Albert Camus’ philosophical essay ‘the Myth of Sisyphus’ which is all about struggle and the acceptance of an absurd universe”, says vocalist/guitarist Alex Wyld. “For the music video we made a giant boulder out of cardboard, duct tape, bamboo and a mic stand and set about rolling it around the Cornish countryside.
For us as-well as being a metaphor for the humanistic struggles in life, the boulder represents the literal struggle of pushing an independent band around the country. We had a lot of fun making this video and wanted to keep it tongue in cheek, which fits the quote from Camus’ essay.
There is no denying though that this album is quite a dark one for us as it has come from a general consensus of dread within the band about what the future holds for humanity”, explains vocalist/guitarist Alex Wyld. “However, we have tried to poke some fun into the absurdity of it all. We like to think each song has some meaning and hope that our listeners will enjoy exploring some of the sonic themes.”
With this new album, Cybernetic Witch Cult have produced their most complete work to date and built on the foundations of progressing their own sound in riff drenched science fiction (including Hitchikers Guide To The Galaxy, 2001: A Space Odyssey, and Dune) that musically drifts in whatever direction the mood of the band and its members take.
Intelligent, progressive whilst accessible, the songs on ‘Absurdum ad Nauseam’ reflect on troubling times in the world, notably climate change. Wyld says, ” I first took climate change seriously at university in 2010: During my Astrophysics degree I opted for a course called ‘Energy and the Environment’ and during our first lecture a student asked the professors “what are our chances like?” and the lecturers gave a solemn look to each other and said “very bleak with the current state of affairs”, everyone had a solemn feeling after that lecture and I think the state of things have gotten worse since then.
It’s tragic to see that while there’s more general awareness of the crisis now, there’s also more (non factual) vocal opposition to climate science and crazy talk of conspiracy theories. I do worry for the future, and I think that’s partly why this album turned out so much heavier and more serious than our older material. But you have to hope that things will improve and that the people who are in power will start to actually make some policy changes to safeguard our civilisation’s future.”
Ahead of the new album release, the South West stoner rock trio release the lead single and new music video for ‘The Myth of Sisyphus’ before heading out on the road for an extensive set of live dates.
Cybernetic Witch Cult’s new release was recorded, mixed and mastered at ‘The Crow’s Nest’ in London by Sam Thredder (Slabdragger).The album’s unique artwork was designed by Aimee Wyld at Unlikeness Art.
Tracklist: 1. Intro 2. Hypercomputer (Part 1) 3. Cromagnonaut 4. The Cetacean 5. The Ivory Tower 6 . Spice 7 . The Myth of Sisyphus 8 . Hypercomputer (Part 2)
Tour dates: 18th October – FALMOUTH – Jacobs Ladder 19th October – BANBURY – The Wheatsheaf 20th October – CROYDON – The Ship 21st October – PLYMOUTH – The Underground 22nd October – EXETER – The Cavern 23rd October – PORTSMOUTH – Edge of the Wedge 25th October – WEYMOUTH – Finns 26th October – SOUTHAMPTON – Firehouse 28th October – BRISTOL – The Lanes 31st October – NEWQUAY – Whiskers 2nd November – LONDON – The Unicorn 30th November – YEOVIL – The Railway Inn 14th December – LONDON – The Black Heart 20th December – PLYMOUTH – The Junction
Cybernetic Witch Cult are: Alex Wyld – Vocals & Guitar Doug MacKinnon – Bass Guitar Lewis May – Drums & Percussion
Posted in Whathaveyou on May 6th, 2019 by JJ Koczan
At very least, it’ll be the end of your liver. Nestled into the southwest of England in the port town of Plymouth, the third End of the World Festival 2019 is set to feature the formidable likes of Dead Witches, Elephant Tree, Gandalf the Green, Cybernetic Witch Cult, Lacertilia, Oak and a likewise formidable slew of others for a one-dayer that looks like a marathon and will likely feel like one for anyone in attendance over the age of 30. As a one-and-done-type event, it’s a celebration of the UK’s native scene, which is indeed worthy of celebrating, and its lineup showcases not only regional heavy, but a bit of the various forms in which that heavy plays out — some sludge, some rock, some doom, some this, some that. There’s a lot to dig here, so needless to say I’ll be sailing in for it.
Nah, not really, but that would be awesome. Book project! I set sail from Massachusetts’ Plymouth to the real Plymouth for a fest, caught in a storm, stranded on an island, etc. The whole bit.
Ah screw it. Here’s the lineup:
End Of The World festival in Plymouth is in their third year, showcasing some of the best stoner, psych, doom and sludge metal bands in the UK. This year they’ve expanded to include Dead Witches, featuring the legendary Mark Greening (ex-Electric Wizard). These are exclusive South-West shows for many of these acts; the event typically showcases the South-West scene but has expanded to include Manchester’s Ritual King, Welsh alt-stoner act Heavy on the Ride and London-based blues-doom outfit Oak. In their third outing, they’re stronger than ever and hoping for their best turnout yet.
The event takes place between The Underground and The Junction in Plymouth on 06.07.19.
The bands playing are:
Mother Vulture Oak Heavy on the Ride Victus Gandalf the Green Greenhorn Ritual King Beggar Lacertilia Tuskar Cybernetic Witch Cult Elephant Tree Mother Vulture
Posted in Whathaveyou on October 4th, 2018 by JJ Koczan
On Oct. 18, Cybernetic Witch Cult and Ritual King hit the road together for a UK run that includes stops in Bridgewater, Birmingham, London and Plymouth. They go with new material in hand from their recently-recorded third long-player, and they go as well with vinyl copies of their 2017 second album, Troglodithic Trip (discussed here), in tow following an August release. No word on when the third outing will be issued, let alone on what formats, but they’ll be playing new songs live and that’s always fun, not that these guys are hurting for being a good time anyway.
Because they’re not, you see.
Presumably whatever it’s called will be out in 2019. More to come when I hear it. Till then:
Cybernetic Witch Cult announce long awaited first vinyl release and October UK tour with Ritual King
Cornwall’s Spaced out Stoner/Sludge Trio, Cybernetic Witch Cult’s 2017 album ‘Trogolodithic Trip’ is finally available on Vinyl.
Featuring 6 tracks of fuzzed out grooving doom, Cybernetic Witch Cult have used this opportunity to rejuvenate some old fan favorites from the band’s early days, with an older, wiser Alex Wyld delivering fresh performances that bring the older tracks in line with the brand new material, and new drummer Lewis May tying things together with a cohesive approach to the newer tracks.
“When we tracked this record back in january, I felt like it was my job to take ownership of the parts, drum wise. It was an interesting exercise in terms of trying to make Troglodithic trip feel like an album we’d worked on together all at once. I think that we achieved that, but also think that this album paints a kind of road map for the band, where we’ve come from and where we’re going. For me that’s the most compelling thing about it”
New tracks ‘Cult of the Druid’ and ‘Sagittarius A*’ have become live mainstays and firm fan favorites, with equally popular music videos available.
Originally released on CD and Digital platforms in May ‘17, the self released album has been remastered for vinyl and is available on “12 gatefold, with updated liner notes and additional lyrics.
Cybernetic Witch Cult have a UK headline tour planned for October in support of the new release, with support from the fantastic Manchester based heavy blues trio Ritual King.
As well as bringing their most recent album to vinyl, the band also spent october holed up at crows nest studio with Sam Thredder recording their follow up effort, and select tracks from this as yet untitled album will be showcased alongside the support for the new vinyl.
“We’re all very excited to take this tour out on the road. With the new line up solidified and the upcoming album in the bag, this is going to be the first tour where all eras of the band’s music will be on display, there’s songs we haven’t played in over a year, alongside songs we’ve never played on stage before. It’s going to be our most diverse and exciting show yet.”
Whether you’re completely new to Cybernetic Witch Cult or if you’ve been with them since the start, this tour is not to be missed.
The tour dates are as follows: 18/10 – Exeter – The Cavern 19/10 – Bridgwater – Cobblestones 20/10 – Newport – Le Pub 21/10 – Birmingham – Hammer & Anvil 22/10 – Portsmouth – Edge of the Wedge* 25/10 – Southampton – The Hobbit* 26/10 – Sailsbury – The Winchester Gate 27/10 – London – The Dev 31/10 – Newquay – Whiskers* 09/11 – Plymouth – The Junction* (*CWC only)
You can order the Troglodithic Trip Remastered Gatefold Vinyl directly from Bandcamp. Alternatively, the original version is still available as a Digipack CD and Digital release, all from the link below.https://cyberneticwitchcult.bandcamp.com/album/troglodithic-trip
Cybernetic Witch Cult is: Alex Wyld – Vocals, guitars Kale Deane – Bass, vocals Lewis May – Drums
Posted in Whathaveyou on June 4th, 2018 by JJ Koczan
The ultra-populated UK heavy underground celebrates its own next month with the second installment of the End of the World Festival. An all-dayer-type event set for July 7, it boasts a lineup featuring the likes of Gurt, Monolithian and Sergeant Thunderhoof, as well as Chubby Thunderous Bad Kush Masters, whose debut album should be along any minute now and thereby not nearly soon enough. Even apart from its most noteworthy names, the bill is pretty massive, so if you happen to be sailing into Plymouth early next month, maybe you drop anchor for a bit and spend an afternoon and an evening getting tore up listening to riffl
You could do much, much worse. Dig what the PR wire:
End of the World 2018
15 BANDS, TWO VENUES, ONE DAY, 10 HOURS OF BACK TO BACK RIFF
End of the World festival is back in 2018; a small stoner/doom/psych/metal festival in the South West of the UK. Run by bands for a passion and love of Doom. Two venues, and some of the best underground doom (and subgenres) that the UK has to offer!!! This is as grassroots as possible, being our second event and building on the success of 2017!
End Of The World is a celebration of the best of the UK’s stoner and doom underground, focussing especially on the South-West but showcasing talent from all over the country. The first installment in 2017 saw big players like Elephant Tree, Morass of Molasses and Grifter take the stage, and this year the lineup is completed by heavyweights such as Gurt, Monolithian and Sergeant Thunderhoof.
First Band at 2pm Music until Midnight Two venues on Mutley Plain, Plymouth, numerous food shops on the street, carparking nearby.
The event takes place between The Underground and The Junction in Plymouth on 07.07.18.
The bands playing are:
Gurt Monolithian Sergeant Thunderhoof Chubby Thunderous Bad Kush Masters Cybernetic Witch Cult Morass Of Molasses Voodoo blood Thuum Gévaudan Trevor’s Head Silverchild Witch Tripper Sail Six Sins till Sunday Battle Ready Bear
