Review & Full Album Premiere: Ruff Majik, The Devil’s Cattle

Posted in audiObelisk, Reviews on October 29th, 2020 by JJ Koczan

ruff majik the devils cattle

[Click play above to stream Ruff Majik’s The Devil’s Cattle in full. Album is out Oct. 30 on Mongrel Records and can be ordered here: https://orcd.co/thedevilscattle]

Well then. With their first offering for new imprint http://www.gemeindebund.steiermark.at/?literature-review-on-online-buying-behaviour: Academic proofreading. Are you an international or native English student who needs to improve your essays? Contact me for proofreading... Mongrel Records, Phd Thesis On Global Warming. 18 likes. This finance homework help page is meant to allow students to post finance homework questions for help. The Devil’s Cattle, South African heavy rockers http://bacteries.fsaa.ulaval.ca/?writing-an-order - Stop receiving unsatisfactory marks with these custom dissertation recommendations Quick and trustworthy services from Ruff Majik not only complete a three-albums-in-three-years trilogy, but they do so by working at a completely new level in terms of their craft and composition. Formerly the trio of guitarist/vocalist Knowledge Management Research Paper - Quality papers at competitive costs available here will make your studying into pleasure commit your report to qualified Johni Holiday, bassist Becoming a http://www.hotelsb.eu/evan-bentz-phd-thesis/ is a great journey into freelance writing. This is a career that is stable, because businesses will always need business writers. Jimmy Glass and drummer Research Paper Example High School - Fast and efficient treatment that costs less. Moneysaving shopping for drugs at our pharmacy. Efficient medical care and full Benni Manchino, the lineup has now expanded to a five-piece to include keyboardist/backing vocalist how to write custom events in asp net Essays Website essay paypal essaywritinghelp Cowboy Van (also guitar, bass, harmonica on the LP) and guitarist/vocalist/keyboardist How Much Does It Cost To Buy A Research Paper I is an 8-week online business writing course. If you want to improve your business writing skills, then this course is ideal for you! Evert Snyman, who also produced and mixed the band’s first two full-lengths, 2019’s Detailed reviews and rankings of Should Bibliography Be Double Spaced services from students and experts. See top rated services to make the best choice for your essay writing! Tårn (review here) and 2018’s Coffee Stand Business Plan done by the world class writers at any time you want. All we want from you is to provide us with the information that is Seasons (review here), and returns to that role here as well.

Perhaps even more crucially,  my review here - Fast and reliable services from industry leading agency. professional and cheap paper to simplify your life Craft a quick Snyman and  We offer writing jobs for freelance http://hibinoiro.net/research-papers-outline/s who possess the necessary academic knowledge and skills for a mostly academic customer base in the UK. Holiday seem to share songwriting duties throughout, and with swaps back and forth in lead vocals like that of “Lead Pills and Thrills,” and shifts in instrumentation between fuzzed-addled guitar, various keys and piano, periodic samples, etc., it’s hard to judge whether Looking for the check over heres? Youre on the Right Track! How many times have you been completely uninspired by college essay topics? The Devil’s Cattle is more brazen in the step forward it takes conceptually or in all-out speed rockers like the opener “All You Need is Speed” — which, suitably enough, begins with tires peeling out — and subsequent thrusters “Heart Like an Alligator,” “Jolly Rodger,” “Who Keeps Score” and “Trading Blows.”

All told, the 13-track offering tops 51 minutes, which is an uptick from Can you Clicking Here? Yes, Our Best - rated experience writers are waiting to assistance you with your College Essay any time. Tårn‘s unassuming 36, but  No matter how complicated your task is our Ghostwriter Vi will impress any teacher. Hurry up to get premium-quality college essays for sale in all Ruff Majik legitimately sound like a band with plenty to say, and as  Holiday and Snyman play off each other as creative foils, the dynamic that emerges — as well as some of the tones, rush, arrangements, and Ale and Cake Illustration cover art — recalls Queens of the Stone Age circa Songs for the Deaf, with The Devil’s Cattle benefiting in a similar fashion from the multiple-personalities behind its songwriting. Who’s Oliveri and who’s Homme and who’s Mark Lanegan in all that mix seems to depend on the track — and when they slam into the scream-topped sludge of the seven-minute “Born to be Bile” late in the proceedings (a seeming sequel to “Seasoning the Witch” from the last record), nobody’s anybody — but most important of all is that as Ruff Majik have entered this next stage of growth, they’ve accorded themselves creative freedom to coincide.

Having previously handled all writing on his own, Holiday opening the floor to give any space whatsoever for Snyman for anyone else in that regard is a huge decision in terms of how The Devil’s Cattle plays out, whether it’s early mid-tempo groovers like “Swine Tooth Grin” and “Shrug of the Year” — the dual solos in the back half of which make it a highlight — or the funkified, handclap-inclusive “Gregory,” which precedes the starts, stops, twists, shifts and rolls of the title-track. It does nothing less than to make Ruff Majik a richer, less predictable outfit, and with guests Xan Stewart and Timothy Edwards on drums, Christiaan Van Reenen on keys and Vincent Houde on vocals (for “Born to be Bile”), further personality outside the founding trio is added to the proceedings and the Holiday/Snyman chemistry, which is central here as GlassManchino and Van don’t seem to appear on the album.

ruff majik

As regards timing, it’s worth noting that’s not a choice related to pandemic concerns; The Devil’s Cattle was recorded between Sept. 2019 and Feb. 2020, so before any lockdown would’ve come into effect. And what it might portend in terms of future incarnations of the band as a whole, I don’t know, but Holiday and Snyman both handling multi-instrumentalist/vocalist duties certainly works here, with the manic “Go with the Flow”-esque key line behind the shove of centerpiece “Jolly Roger” leading into the back half of the album, backed by the solid hook, strut and run of “Who Keeps Score,” the late break in which likewise stands out in post-Homme fashion, and “Lead Pills and Thrills,” which is a high point in bringing together Snyman and Holiday in a genuine vocal arrangement. Momentum by that point in The Devil’s Cattle is well set and maintained, and “Trading Blows” rounds out a four-songs-under-four-minutes succession with a slowdown and shouts that not only pull forth some of Ruff Majik‘s underlying metal influences, but act as further setup for “Born to be Bile,” a bleak gateway to the final stage of The Devil’s Cattle.

Vocals switch back and forth between Holiday‘s higher register — there are times on the record where he reminds of Axl Rose meeting John Garcia — and what are presumably Houde‘s guest screams, given a kind of gurgling compression effect, and to go with that is a tortured lumbering of the sort that most bands simply wouldn’t dare having spent so much of their time otherwise rocking out. But it’s not necessarily out of character for Ruff Majik, and one way or the other, they’ve clearly decided that The Devil’s Cattle is not a time to hold anything back. That continues to be the case as “Born to be Bile” fulfills its final cacophony and the subdued “God Knows” begins its linear build quietly paying off in equal amounts of fuzz and emotion, and the plod resumes with “Hymn No. 5,” the closing instrumental that’s topped with nothing but samples.

Crushing in a seeming answer to “Born to be Bile,” “Hymn No. 5” is as suitable an ending for The Devil’s Cattle as anything else one might come up with, since it’s unexpected right down to its final march outward, feedback, tom runs and cymbal wash, coming apart like the very opposite of “All You Need is Speed” and seeming all the more intentional for that. It’s hard to know what The Devil’s Cattle might portend in terms of Ruff Majik‘s lineup circumstances, if they’ll keep the five-piece configuration for live performances (and that’s before you get into who-the-hell-knows-when-tours-will-happen) and move forward with Holiday and Snyman along with others in the studio, or what their next LP might bring in terms of sound and development along the lines of songwriting and arrangement. But isn’t that also what makes it so exciting?

At least part of it. Certainly the sheer energy conjured throughout The Devil’s Cattle has a role to play in that regard, but there is something extra satisfying about not knowing where Ruff Majik might go next. That plays out across this collection of songs — and, indeed, often within the songs themselves — and in the bigger-picture sphere of who they are and their aesthetic. And even as they realize the potential of their first two full-lengths in such encompassing fashion, they may yet still just be getting started. It is astonishing to think their first EP only came out five years ago.

Ruff Majik, “Lead Pills and Thrills” official video

Ruff Majik, “Who Keeps Score” official video

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

Ruff Majik website

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Ruff Majik on Instagram

Mongrel Records website

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Mongrel Records on Instagram

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Days of Rona: Johni Holiday of Ruff Majik

Posted in Features on May 26th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Johni Holiday Ruff Majik

Days of Rona: Johni Holiday of Ruff Majik (Lydenburg, South Africa)

How have you been you dealing with this crisis as a band?

Well, none of us have seen each other in about two months, which is a bummer. But we’ve been keeping in contact as much as possible, and planning for when things return to normal.

As an individual?

Got a bit of cabin fever at the start, but circled back around to normal after I started brewing my own liquor (which became essential after our government banned booze).

What effect has it had on your plans or creative processes?

Plan-wise, it wrecked everything -– but that’s okay, we’ll figure it out when we can. Creatively I’d say it’s done us some favours, which you might pick up on in our future releases.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Well, it’s a really tough subject in our home country (where we are right now). We have widespread poverty and large parts of the country live in absolutely horrid conditions, so I think everyone is just trying their best to survive. The government did ban alcohol and cigarettes though, which I don’t think is reasonable, but a lot of people will disagree with me on that. All things considered though, I think we’ll pull through.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

A combination of everything really. I think everyone is being extremely supportive, and the bands are doing their absolute best to stay afloat. We just want to get out there and play again.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Well, we haven’t quit yet. We could’ve, ‘cause things have gotten hard around here. But instead of quitting we decided to face the storm head on, release new music, new videos, all that jazz. So yeah, we’d want people to know we’re still here, and we will be for a long time to come.

http://www.ruffmajik.com
http://www.facebook.com/ruffmajik
http://www.instagram.com/ruffmajik
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Quarterly Review: High on Fire, Ruff Majik, Merlin, Workshed, E-L-R, Sibyl, Golden Legacy, Saint Karloff & Devil’s Witches, Burden Limbs, El Supremo

Posted in Reviews on October 1st, 2019 by JJ Koczan

quarterly review

Another day, another batch of 10 reviews on the march to 50 by the end of the week. Will we make it? Yeah, probably. I mean, I think there was once when I had to skip a day or something but even then I made up for it and there’s never been an instance where the Quarterly Review fell apart. The one quarter I decided to nix it (was it last year?) I made up for it by doing 100 reviews instead of 50 the next time out, so we got there eventually. It being Tuesday, the end of the week looks far off, but indeed we’ll ge there eventually, and there’s a lot of good music between now and then, so let’s hit it.

Quarterly Review #11-20:

High on Fire, Bat Salad

high on fire bat salad

A limited vinyl EP released as part of Record Store Day 2019, High on Fire‘s Bat Salad comprises three songs: an original instrumental and two covers, one of Celtic Frost and one of Bad Brains. And I won’t take away from the “Rat Salad” Sabbath-does-blues-jazz-jam-except-it’s-HighonFire-so-it-sounds-nasty-as-hell spirit of “Bat Salad” at all, but the real highlight here is hearing Matt Pike‘s gravel-throated vocals take on “Into Crypts of Rays.” Celtic Frost have always been a central factor in what High on Fire were doing stylistically, so to have the band take them on directly seems long in the making. They approach Bad Brains‘ “Don’t Bother Me” with due reverence as well, careening through an intense three-minute burst of energy with the grit and underlying precision one has come to expect from these singular masters. Soon enough, bands will be covering High on Fire with the same spirit of fan homage. Doubly notable for being founding drummer Des Kensel‘s last recorded appearance alongside Pike and bassist Jeff Matz in the band.

High on Fire on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Ruff Majik, Tårn

ruff majik tarn

Guitarist/vocalist Johni Holiday, bassist Jimmy Glass and drummer Ben Manchino return with Tårn, Ruff Majik‘s second album on a quick turnaround from their 2018 debut, Seasons (review here). Aligned with Lay Bare Recordings for the vinyl release, the deceptively quick and even more deceptively complex seven-track/36-minute offering finds Ruff Majik digging into dirt-caked tonality and classically punkish sneer in Holiday‘s vocals. There are moments where they sound like Queens of the Stone Age (“Speed Hippie”) and moments where they sound like Black Flag (parts of opener “Schizophrenic”), but as a roller like “Heretically Happy” or the earlier post-Zeppelin stoner sneak of “Gloom & Tomb” show, Ruff Majik are perhaps most interested in sounding like themselves. They’re gleeful as they toy with doomed vibes on closer “Seasoning the Witch,” and the seven-minute “I’ll Dig the Grave” earlier thrills with changes drawn together by a pervasive and righteous groove. With Tårn, Ruff Majik have found their wavelength, and it suits them.

Ruff Majik on Thee Facebooks

Lay Bare Recordings website

 

Merlin, The Mortal

merlin the mortal

Be it heretofore established that sax-laced Kansas City psych-doomers Merlin don’t give a fuck. They don’t give a fuck what you expect, they don’t give a fuck what everyone else is doing, they don’t give a fuck if they meme the crap out of their own band. They’ve got their thing and they’re doing it. And you know what? They’re right. The Mortal is their fifth full-length in six years, following as a sequel to early-2018’s The Wizard (review here), and with flourish galore in arrangements of organ, sax, flute, percussion, accordion, trumpet, etc., alongside the foundation of songcraft that comes through the guitar, bass, drums and always-theatrical vocals of Jordan Knorr, the band recount tales along a dark-magical mystery tour of gorgeously flowing and still-weighted psychedelic plunder. They have become a buried treasure of weirdo/geek rock, and whether it’s the peaceful drift of “Ashen Lake” or the cacophonous heavy riffing of “Basilisk,” the stage-setting prog of “Towerfall” or the consuming swell that carries out the apex of closer “The Mortal Suite” — King Crimson chase and all — Merlin‘s work has never sounded so masterful. Will there be a third installment in the tale? Nothing quite like a trilogy.

Merlin on Thee Facebooks

The Company BigCartel store

 

Workshed, Workshed

workshed workshed

They’ve since added a third party in bassist Helen Storer (Fireball Ministry, among others), but Workshed‘s self-titled Rise Above Records debut LP was recorded as the duo of guitarist/vocalist Adam Lehan and drummer Mark Wharton. More than a quarter-century ago, both Lehan and Wharton played on Cathedral‘s pivotal first two albums, but in Workshed, and certainly there are some shades of doom on a stomper like “Anthropophobic” here, but the bulk of Workshed‘s nine-song/47-minute first offering is given to post-Entombed buzzsaw noise sludge, riffs crunched one into the next in an aggro, punk-rooted fashion that rife with a sense of willful punishment that comes through in sheer impact from front to back. Vocals call to mind Tom G. Warrior immediately and are suited to the social commentary of “If This is How it Is” and “This City Has Fallen,” while the grueling march of “A Spirit in Exile” leaves room for some atmosphere to eek through, which it does. They trash out in centerpiece “On Sticks of Wood” and chug their into a last fade on closer “It Doesn’t Have to Be That Way,” but by then they’ve long since made their statement and left a trail of destruction behind them. Would they have been signed to Rise Above without the Cathedral connection? Probably not. Does the album earn their place? Absolutely.

Workshed on Thee Facebooks

Rise Above Records website

 

E-L-R, Mænad

e-l-r maenad

With their first full-length, Mænad, Swiss post-metallers E-L-R cart a gorgeous and textured course through patient and progressive songweaving that lends itself to hypnosis through its churning rhythm as much as its overarching melodies seem to evoke other worlds. It is not without its sense of challenge and certainly plenty heavy in its tone and groove — at least where it wants to be — but it’s also rich and provides a level of depth to its mix that should have others in the genre asking how they did it. A transitional drone at the end of “Devotee” brings about the 10-minute “Above the Mountains There is Light” and a long contemplation begins, working from the ground up on a pilgrim’s path to the eventual payoff. The resonance there is something unto itself, but even as “Ambrosia,” “Lunar Nights” and “The Wild Shore” find the stylistic footing that opener “Glancing Limbs” and “Devotee” seemed to hint at earlier, E-L-R maintain both an ambient sprawl and a consuming sense of passion that makes their work here all the more thrilling. This is a debut, following only a single 2018 demo that had two of the same tracks. What that tells me is look out for this band, because this kind of potential doesn’t come along every day and when it does, you want to be there for the follow-up. The impeccable taste of Prophecy Productions pays dividends once again.

E-L-R on Thee Facebooks

Prophecy Productions website

 

Sibyl, The Magic Isn’t Real

sibyl the magic isn't real

Otherworldly doom rock marked by echoing vocals oozing out from deep in the mix and gotta-hear-it bass tone complemented by choice riffage and a fervent thud in the drums, even if the aesthetic of Richmond’s Sibyl is familiar enough, there’s plenty to dig about their debut EP — what one might’ve called a “demo” in eras past — The Magic Isn’t Real. The stylistic elephant in the room is RVA’s own Windhand, but Sibyl take a more psychedelic path to heavy oblivion, and with four tracks in the range of four to five minutes, The Magic Isn’t Real comes across as well focused in its songwriting despite the ethereal touches in the actual sound. Cool vibe, and as they work some noisy shuffle into “Spinning Webs,” they show themselves as being less restricted than otherwise might be the case if they were purely committed to doomed drudgery. I’ll give bonus points as well for naming the penultimate track “Sexpionage,” just on principle, but it’s in stretches like the subdued creeper opening of “Blood Moon” and the engrossing, still-somehow-moving wash of “Pendulums” that Sibyl really showcase their intention.

Sibyl on Thee Facebooks

Sibyl on Bandcamp

 

Golden Legacy, Golden Legacy II

golden legacy golden legacy ii

London heavy noise duo Golden Legacy offer five tracks and 23 minutes of anti-genre, adrenaline rock to follow-up their 2016 self-titled EP. There’s a strong undercurrent of modern punk and indie to their sound, which is what gets them the “anti-genre” consideration, but it’s the energy of their delivery carrying them one way or the other as they drive through the harsh snare of “Cut and Crash” following the chunkier tone of opener “Moon” and just before centerpiece “Dirty Mouth” finds its way into grunge-style howling beastliness. Comprised of drummer/vocalist Lorena Cachito and guitarist Yanni Georgiou, the two-piece find winning momentum in “Salvation,” while closer “Thirsty” opens with a mellow drum progression gradually joined by the guitar and builds into more progressive and dramatic movement, casting off some of the rawness of the songs before it in favor of more complex fare. It still manages to soar at the end, though, and that seems to be what counts. They might be rawer now than they’ll eventually turn out, but that suits most of what they’re doing in adding to the emotionality on display in Cachito‘s vocals.

Golden Legacy on Thee Facebooks

Golden Legacy on Bandcamp

 

Saint Karloff & Devil’s Witches, Coven of the Ultra-Riff

saint karloff devils witches coven of the ultra-riff

Alright, look. I don’t even think I have the full thing, but whatever. Saint Karloff and Devil’s Witches came together to release the Coven of the Ultra-Riff split — it can be so hard to find the right coven for your family; have you considered the Ultra-Riff? — and they each play an original track and then they cover each other’s songs and then Saint Karloff introduce the progression of “Supervixen (Electric Return)” and Devil’s Witches take up the mantle and run with it on “Supervixen (Acoustic Return),” so yeah, it’s pretty awesome and kind of all over the place but whatever. Get your head around it and get on board with whatever version you can grab. Vinyl came out through Majestic Mountain Records and tapes were through Stoner Witch Records and I’m fairly certain it’s all sold out already and probably stupid expensive on Discogs, but do what you need to do, because this is what Sabbath worship in the year 2019 is supposed to sound like. It’s bombed out of its gourd and has long since dropped out of life. It’s exactly where and what it wants to be.

Saint Karloff on Thee Facebooks

Devil’s Witches on Thee Facebooks

Majestic Mountain Records BigCartel store

Stoner Witch Records BigCartel store

 

Burden Limbs, There is No Escape

burden limbs there is no escape

I’m not going to pretend to have the grounding in post-hardcore to toss off the influences under which Burden Limbs are working, but to listen to the blast of noise in “How Many Times Must I Reset” and the near-industrial wash of noise they conjure in the subsequent “Hypochondriac,” it’s clear they’re working under one influence anyway. There is No Escape (released through Glasshouse Records) runs 24 minutes and carries four songs, but in that time the band around founding figurehead and guitarist/vocalist Chad Murray manage to challenge themselves and the listener alike to keep up with their turns and emotional resonance. Murray is joined by two bassists, another guitarist, keyboards/synth and drums, so yes, there’s something of a busy feel to it, but even echoing cavernous as they are, the vocals seem to draw the songs together around a central presence and add a human core to the proceedings that only makes them all the more affecting as would seem to be the intent.

Burden Limbs on Thee Facebooks

Glasshouse Records on Bandcamp

 

El Supremo, Clarity Through Distortion

El Supremo Clarity Through Distortion

Sometimes these things take a while, but El Supremo was formed by now-ex-Egypt bassist Chad Heille has a solo-project and released a self-titled demo in 2008, to which Clarity Through Distortion is the follow-up full-length. Now joined by guitarist Neil Stein (also ex-Egypt, and who also played some on the demo) and organist Chris Gould as well as bassist Cam Dewald who came aboard after the album’s completion, the instrumentalist full-band incarnation of El Supremo waste no time diving into dead-on tonal and riffy righteousness, taking classic heavy cues and running with them in modern production richness, sounding clear but natural as a jam like “Moanin’ & Groanin'” turns into a shuffler as it moves into its second half, or the mellow sway of the 14-minute “Supercell” at last runs head-on into the lumbering motion that will carry it through to the end. I don’t know how much clarity — at least of the existential sort I think they mean in the title — they might’ve found by the time the bluesy “Lotus Throne” rolls over into the shreddy “Outro” that caps, but if the method is distortion, they’ve certainly got that part down.

El Supremo on Thee Facebooks

El Supremo on Bandcamp

 

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Ruff Majik Post “Gloom & Tomb” Video & Announce Tårn Album Details

Posted in Whathaveyou on April 19th, 2019 by JJ Koczan

ruff majik (Photo by Christelle Duvenage)

Not really sure where to place the riffage hurling forth from Ruff Majik‘s new album, Tårn. Set for release as their first offering through Lay Bare Recordings and with a European tour presumably to be announced for the Fall given their recent Keep it Low confirmation, the album is somewhere between grit metal and doomly fuzz. Dirt doom, maybe? The groove has nasty edge, but they’re not really sludge, and the guitar cuts through raw like the best of garage heavy. I’m going to take some more time and really dig in, let it get under my fingernails, and see where we’re at, but in the meantime, Ruff Majik have a new video for “Gloom & Tomb,” which is the second song on the record after the opener, “Schizophrenic.” You’re also going to want to watch out for “Heretically Happy.” There’s some cool shit happening here.

Alright, I’ve said too much. Though before I punch out, I’m glad to see in the PR wire info below that I’m not the only one who saw the Tårn cover and thought of He-Man.

Here’s the art, album details and preorder links. Video is at the bottom of the post, as usual:

ruff majik tarn

Ruff Majik reveal artwork for Tårn and video for new single Gloom & Tomb

South African riff-mongers Ruff Majik have revealed the artwork for new album Tårn along with a video new single Gloom & Tomb. Having recently announced their signing to Dutch label Lay Bare Recordings for the vinyl release of the album and with a couple European tours already lined up, 2019 is going to be a busy year for the band.

Working closely with long-time collaborator Anni Buchner on the artwork for Tårn (Norwegian for tower), guitarist/vocalist Johni Holiday explains more about the inspiration behind it all, “We chose the image of the tarot tower for this album cover because it symbolizes crisis, liberation and sudden unforeseen change. The band has been going through these motions for a few months now, and we felt it would only be fitting. We handed that over to Anni, and she turned it into magic as usual.”

“I’ve been working with the band since their first release back in 2015, and as the music has grown and developed over time, so has the art along with it in my opinion. The artwork is a new and more colourful take on the look of the classic Tower tarot card that holds a lot of significance for the band, as well as a bit of a reference to the iconic ‘Castle Grayskull’ from He-Man. Stylistically it’s also me trying out new things with gradients and textures.” adds Anni Buchner.

Johni goes on to comment on the video,” For this video, the band decided to go for a classic karaoke style sing along look, with some intense imagery in the background. Never straying too far from the psychedelic look, the video is full of eye-catching colours and dizzying sequences”

Pre-order on vinyl Here
Pre-order digital Here

Track Listing
1. Schizophrenic
2. Gloom & Tomb
3. I’ll Dig the Grave
4. Dread Breath
5. Heretically Happy
6. Speed Hippie
7. Seasoning the Witch

Ruff Majik is:
Johni Holiday (guitar/vocals)
Jimmy Glass (bass guitar)
Ben Manchino (drums)

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://laybarerecordings.com/
https://www.facebook.com/laybarerecordings/
https://twitter.com/laybarerecs

Ruff Majik, “Gloom & Tomb” official video

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Ruff Majik Closing 2018 with Cape Town Shows

Posted in Whathaveyou on November 8th, 2018 by JJ Koczan

ruff majik

When last heard from, South African trio Ruff Majik were getting ready to hit the studio in September to track a quick-turnaround sophomore album to answer their 2018 debut, Seasons (review here). They did shows throughout the country last month following up on two European tours earlier this year, and I’d have to imagine the new record is at least finished in terms of the actual recording process, if not mixed or yet mastered. Their eye was on an early 2019 release, so hopefully that actually comes together.

In the meantime, they’ll play four shows in Cape Town to close out the year, two of which are free. That in itself is pretty nifty, but kudos the band on getting four bookings in the same city on four consecutive nights. It’s not every group in every town who could make that happen, even with a variety of openers. Clearly there’s some respect there, so right on.

The PR wire brings the dates and the whatnot:

ruff majik tour

Ruff Majik Reveal Cape Town Tour Dates for December

Pretoria’s sludge n rollers Ruff Majik have announced a couple dates for Cape Town shows in December. They’ll be joined by Cape Town based hardcore heroes Peasant for two shows along with a host of the city’s finest heavy bands including MA-AT, Monstroid, Behest, Blood Ret, Pooch, The Man Motels and more.

Pieter Jordaan from Peasant comments on the tour “Cape Town is often starved of the doomy goodness that a band like Ruff Majik can provide, so we are very stoked to have them pull through for the long weekend! With Peasant joining on two dates, and some of the best garage, fuzz and hardcore the city has to offer, the tour will be the best way to start off the holiday season right!”

Ruff Majik guitarist and vocalist Johni Holiday does on to add “Cape Town is always such a magic experience. The crowds are always intensely invested in the music, and we get the best green when we visit! This time around, we’re really excited to be joined by the dudes of Peasant and some of the finest doom, garage and hardcore bands that CPT has to offer!”

THUR 13 DEC – Black Irish – 1 Scher Street, Durbanville R40 ENTRANCE
FRI 14 DEC – Prison – 28 Somerset Rd, Green Point, Cape Town FREE ENTRANCE
SAT 15 DEC – Scary Canary – 225 Long St, Cape Town City Centre R50 ENTRANCE
SUN 16 DEC – Surfarosa – 61a Harrington St, Zonnebloem FREE ENTRANCE

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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Ruff Majik to Begin Recording New Album; Announce South Africa Shows

Posted in Whathaveyou on September 7th, 2018 by JJ Koczan

South African heavy psych trio Ruff Majik are set to enter the studio to record the follow-up to their 2018 debut album, Seasons (review here), for an early 2019 release. I won’t claim to have any insight on the band’s processes, but given the live sound of the last record and the series of EPs that preceded it, it doesn’t seem out of line to expect they’ll get their sophomore full-length to tape with all good speed. That’s all the better since at the end of the month they’ll take stage at the Krank’d Up festival in Johannesburg, as one of a select round of live dates they’ll do in their home country to correspond with the European tour they undertook this past Spring following Seasons‘ release. You’ll note in the announcement below for the shows it says they’ve never played in their hometown of Lydenburg. Even knowing nothing about urban populations and demographics in South Africa, that seems astonishing to me. Smaller town, I guess? Still fascinating.

Gotta figure they’ll be back in Europe supporting the new album whenever it arrives. Hopefully that happens sooner than later.

From the PR wire:

ruff majik

Pretoria’s Ruff Majik Divulge Details for their “Season of the Witch” tour.

Coming off the back of 2 very successful European tours, South Africa’s sludge n roll kings Ruff Majik have revealed dates and details for their Season of The Witch tour.

Kicking off on the 29th September with their mainstage appearance at this year’s chapter of the mighty Krank’d Up Music Festival, the tour will see them play in Johannesburg, Pretoria, Durban and for the very 1st time in their home town of Lydenburg.

“We’re extremely excited to be hitting the road for a few select dates with some good friends! Each show will be an entirely different experience with these line-ups, so we can’t wait!” – Johni Holiday, vocals / guitar

29 September // JHB // Krank’d Up Music Festival
12 October // PTA // The Grind Bar // with from Apocalypse Later, Wolkberg
13 October // JHB // Sundowners // with Them Dirty Shrikes, Caution Boy
20 October // DBN // Winston // with Pollinator, Mad God
26 October // LYD // Jam Jar Lounge // with Wolkberg, Them Dirty Shrikes

The band released their debut full length album Seasons on the 20th April 2018 which was well received by the local and international metal and rock media.

Seasons available now on all digital platforms including BandCamp Apple Music Spotify Deezer and on CD and cassette via Forbidden Place Records

The band will be in studio in September 2018 recording the follow up to Seasons with the aim of releasing early in 2019.

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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