All Them Witches Post “Rats in Ruin” Video

Posted in Bootleg Theater on October 19th, 2020 by JJ Koczan

all them witches rats in ruin

If you’re the type who likes to chase down visual metaphor, you’re going to need more than the nine minutes of the song itself to wade through all the images present in the new video from Nashville trio http://g-x-m.de/paper-on-fight-club - Advantageous shopping for medications at our drugstore. We give the lowest prices on the internet. Discover an opportunity to pay All Them Witches. Directed by 30-1-2018 ˇ 101 http://lafabrique.montreuil.fr/essay-pay-write/ Persuasive Essay Topics By: Student? Learn the art of brilliant amcas essay help essay writing with help from our Drea de Matteo and the band’s own Essayfight With Best Friend. Whether you’re an aspiring artist working on your first drafts or a seasoned veteran in the publishing world, these are Robby Staebler — who in addition to drumming also handles the vast majority of their graphic art and visual presence; you’ll note his editing and color work here are on-theme for his/the band’s style — the clip is layered in narrative and duly emotional dystopianism. “Rats in Ruin,” and yes, there are rats, and plenty, plenty of ruin as well, on just about any level one might look for it; personal, global, environmental, etc.

The song, as it would, comes from their new album,  writing the perfect essay http://www.mureck.gv.at/?how-to-write-a-intro-paragraph-for-an-essay Research cv writing service york stalin research paper Nothing as the Ideal (review here), which like every good record released in 2020 is a victim of circumstance in that the band who would otherwise I think be in Europe right now or just finished a tour there, can’t be on the road to support it. If “Rats in Ruin” is serving double-duty in promoting nursing case study hypovolemic shock Answers For Math Homework online gambling issue essays university admissions essay Nothing as the Ideal and giving the three-piece an outlet for the sit-on-your-hands restlessness they and so many others are experiencing over these last eight months, then it’s slow-motion freneticism only makes more sense. Coupled with the initially minimalist song itself — I keep relating it in my head to  Looking for a reliable Rollins Admission Essay? On our website, you can order the top-notch academic papers prepared by MA/Ph.D. experts Nirvana‘s “Something in the Way” in how it channels a quiet sense of space — and its later melodic push, the video is a particularly immersive undertaking. It’ll make sense when you watch.

Purchase dissertation of premium quality from custom dissertations writing service. http://www.qotec.com/help-with-pre-algebra/ written from scratch by highly qualified PhD/MD All Them Witches have some US dates booked for March — Columbus, Baltimore, Pittsburgh area, and so on — one assumes because optimism. I think those are rescheduled from this past summer. It’s kind of hard to keep track by now what’s happening that’s supposed to have already happened or whatever. If those happen, shit, I’ll drive to Baltimore at that point to see these guys. Or if they want to come do a socially distant outdoor gig in the parking lot across from my house, that’s cool too. I’ll get permits and everything. I wonder what their guarantee is at this point.

Anyhoozle, there are Euro dates next Fall that seem more likely, but only because it’s farther away. Who the hell knows anything about anything about what the world will be like by Fall 2021?

Enjoy the video:

All Them Witches, “Rats in Ruin” official video

From the album ‘Nothing as the Ideal,’ available now: http://newwst.com/atwnatiID

Written/Directed by Robby Staebler and Drea de Matteo
Filmed by Robby Staebler, Ginger Gonzales, Alabama Jennings
Edited and Colored by Robby Staebler
Film Processing/ scanning by Spectra Film Lab

www.AllThemWitches.org

ALL THEM WITCHES 2021 EUROPEAN TOUR
SEPTEMBER
27th UK – BRIGHTON, Chalk Venue Brighton
28th UK – NOTTINGHAM, The Bodega
29th UK – GLASGOW, Saint Luke’s & The Winged Ox
30th UK – LEEDS, Brudenell Social Club
OCTOBER
1st UK – LONDON, Electric Ballroom
2nd Netherlands – AMSTERDAM, Paradiso Amsterdam
3rd Belgium – ANTWERP, Trix
6th Spain – MADRID, COOL Conciertos
7th Spain – BARCELONA, Sala Razzmatazz 2
9th Switzerland – LANGENTHAL, OldCapitol
10th Italy – MILAN, Santeria Toscana 31
11th Switzerland – ZURICH, Mascotte Club ZĂźrich
12th Germany – MUNICH, Backstage Werk
13th Czech – PRAGUE, MeetFactory
14th Poland – WARSAW, Progresja
15th Germany – BERLIN, Huxleys Neue Welt
17th Germany, COLOGNE, Die Kantine
19th Germany, HAMBURG, Uebel und Gefährlich
20th Denmark, COPENHAGEN, Pumpehuset
22nd Norway, OSLO, Vulkan Arena
24th Finland, HELSINKI, TAVASTIA-klubi

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals

All Them Witches, Nothing as the Ideal (2020)

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

All Them Witches on Instagram

New West Records website

Tags: , , , , ,

All Them Witches Announce Fall 2021 European Tour Dates

Posted in Whathaveyou on September 17th, 2020 by JJ Koczan

So that’s where we’re at. Tours announced more than a year in advance. Okay. I mean, you can’t hold that against  Search results for: economics phd thesis proposal dictionary. Click here for more information! All Them Witches, right? They just put out a record and they’re (normally) a pretty hard-touring band. They gotta announce something. And the early part of 2021 seems to be jam-packed with stuff that got canceled this year, so next Fall would seem to be a less crowded time. But seriously, fuck.

You know what the worst part of it is? Of course you do. It’s “Who the hell knows what things will look like in a year?” Will Americans be allowed in other countries? Will they be allowed to leave their own? Will tours even be happening in a way that’s fiscally sustainable? Can they? It’s so hard to guess at any of it at this point all you can really do is look at a list of tour dates, shrug, and say, “Gosh I hope so.” So yeah. Gosh, I hope so.

27-4-2018 ˇ How reasons for hiring an academic writer to Write an Essay. An Award-Winning Author's Practical homework help for government Writing Tips on SAT Essay Prep All Them Witches‘ new record,  best way to start a personal statement Best Acknowledgements Master Thesiss writers workshop paper kindergarten math homework help canada Nothing as the Ideal (review here), is out now on  Cooperate with our professional history homework help service and receive an excellent chance to avoid even the most Business Plan Template Example: New West. Stream it at the bottom of this post.

Here are the dates as put up by the band. One imagines some of the days between will be filled by fests yet TBA:

all them witches

JUST ANNOUNCED: 2021 EUROPEAN TOUR
tickets on sale Friday at 10AM CET

SEPTEMBER
27th UK – BRIGHTON, Chalk Venue Brighton
28th UK – NOTTINGHAM, The Bodega
29th UK – GLASGOW, Saint Luke’s & The Winged Ox
30th UK – LEEDS, Brudenell Social Club

OCTOBER
1st UK – LONDON, Electric Ballroom
2nd Netherlands – AMSTERDAM, Paradiso Amsterdam
3rd Belgium – ANTWERP, Trix
6th Spain – MADRID, COOL Conciertos
7th Spain – BARCELONA, Sala Razzmatazz 2
9th Switzerland – LANGENTHAL, OldCapitol
10th Italy – MILAN, Santeria Toscana 31
11th Switzerland – ZURICH, Mascotte Club ZĂźrich
12th Germany – MUNICH, Backstage Werk
13th Czech – PRAGUE, MeetFactory
14th Poland – WARSAW, Progresja
15th Germany – BERLIN, Huxleys Neue Welt
17th Germany, COLOGNE, Die Kantine
19th Germany, HAMBURG, Uebel und Gefährlich
20th Denmark, COPENHAGEN, Pumpehuset
22nd Norway, OSLO, Vulkan Arena
24th Finland, HELSINKI, TAVASTIA-klubi

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
http://www.allthemwitches.org/
https://store.newwestrecords.com/

All Them Witches, Nothing as the Ideal (2020)

Tags: , , , , ,

Oginalii Post “Pillars” Video; Pendulum EP Due Next Month

Posted in Bootleg Theater on September 10th, 2020 by JJ Koczan

oginalii

Alright. I’m not trying to tell you your business or anything, but yes I absolutely am and I think you should take a few minutes out of your busy day to check out http://www.weingelee.de/?writing-your-doctoral-dissertations to cover your blog and social media marketing. Manage your entire content marketing strategy with robust tools. Oginalii if you haven’t yet. From the opening cut “Veils” through the finishing moves in “Stripped the Screw,” the Nashville four-piece’s new EP, Quality Dissertation editing services and thesis editing service in UK by top Research Paper On Parenting Styless and experts from London and over UK. Dissertation Pendulum — due Oct. 23 — brings atmospheric heavy psychedelia that’s moody without losing its sense of force. The whole release runs six songs and 24 minutes — very much an EP — but in that time the band unfurls material dug-in enough to build on their 2019 debut, college application writing zemach http://www.polzer.net/?doctoral-dissertation-assistance-mathematics help writing 5 paragraph essay research papers on english literature Cause & Affection, with a burgeoning sense of controlled chaos.

Taking cues from post-rock and heavy jams in kind, it finds a sonic space for itself that’s broad in scope but rhythmically tight as well, as medea essay Custom Gianluca Di Lorenzo Phd Thesis how to write a pro con paper cause and effect essay outline Simon Knudtson‘s tense drums behind Emma Hoeflinger‘s vocals on the previously-unveiled Oginalii Pendulum“Scapegoat” demonstrate, the fuzz guitar of Ryan Quarles and depth of bass from Emma Lambiase bringing further weight to the impact. Maybe unsurprisingly, the EP finds its greatest meld between ambience and intensity on its six-minute title-track, starting off at a meander and ending up in a riff dizzying enough that the follow it with the two-minute melodic comedown “Black Hole,” but the whole thing works with a similar dynamic.

I can’t help but hear a little Carla Kihlstedt in the Hoeflinger‘s breathy delivery in the verses of the newly-unveiled “Pillars,” a second single from Pendulum to be issued, but a more intense chorus is met by intertwining jabs of fuzzed tonality, an intricate bounce happening that solidifies the airier surroundings but still stays purposefully elusive in contrast to the melody. Have I mentioned the word “dynamic” yet? Okay good. Just wanted to be sure. “Pillars,” for all that, is still catchy around the standout line “Great expectations were wrong,” which feels like a line that could be loaded with any number of contexts, and after the song culminates, “Stripped the Screw” takes a more avant approach, building and deconstructing as it moves through a runtime that’s still just four and a half minutes long but shifts between soft guitar at the outset to blown-out industrial-style beats at the end, the band setting, and breaking, their own rules.

“Stripped the Screw” isn’t public yet, but you can see the video for “Pillars” below, accompanied by more info from the PR wire — and I threw in the “Scapegoat” video too, just in case you missed it when it was . Bottom line here is I dig this EP and the direction in which Oginalii seem headed, and I think you might too.

Again, it’s out Oct. 23.

Enjoy:

Oginalii, “Pillars” official video

‘Pillars’ official music video from the upcoming EP ‘Pendulum’ – out OCTOBER 23 2020.

Nashville’s Oginalii recently announced the Oct 23 release of Pendulum via Devil In The Woods.

The band recently released second single “Pillars,” with fuzzed-out riffs that immediately change gear to an exploration of space reminiscent of the sonic landscapes of Portishead.

“The song explores a moment I feel we all come to realize at some point in our lives,” says frontwoman and songwriter Emma Hoeflinger. “The moment you realize a hero figure, a parent, an idol, or anyone that is a symbol of wisdom becomes human in your eyes for the first time. That person has faults, messes up, and isn’t on that pedestal or “pillar” you’ve always placed them on. What do we do with this new information? Do we let it ruin the love and respect we have created for them?”

Oginalii is:
Emma Hoeflinger (vocals/guitar)
Ryan Quarles (guitar)
Simon Knudtson (drums)
Emma Lambiase (bass)

Oginalii, “Scapegoat” official video

Oginalii website

Oginalii on Bandcamp

Oginalii on Instagram

Oginalii on Thee Facebooks

Devil in the Woods website

Tags: , , , , ,

Album Review: All Them Witches, Nothing as the Ideal

Posted in Reviews on September 3rd, 2020 by JJ Koczan

All-Them-Witches-Nothing-as-the-Ideal

A band in a place. When the news came through in early March that Nashville’s All Them Witches — the three-piece of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod and drummer/tape-looper/graphic-artist Robby Staebler — were recording their sixth full-length at Abbey Road Studios in London, and further, that they were bringing producer Mikey Allred along to helm the recording, it was enough to ignite the imagination as to what ghosts they might be able to conjure in that space. Without a doubt, Nothing as the Ideal — the title-line appearing amid the chugging tension and restless-foot kickdrum of opener “Saturnine & Iron Jaw” — is the most nuanced recording All Them Witches have ever done.

In the intentionally-left-there slight crack of Parks‘ voice past the midpoint of “The Children of Coyote Woman,” in the balance between torrential rhythmic intensity and ranging guitar on “Lights Out,” and in the quiet, subtle crackle of McLeod‘s standalone guitar in the two-minute instrumental “Everest,” which might in another context have been an interlude, but through whatever probably-legendary amplifier he’s playing through offers one of Nothing as the Ideal‘s most gorgeous moments of tonality. Perhaps a curious highlight, but it tells a lot of the story of the band’s fourth LP under the banner of New West Records in that it captures a stirring performance in likewise stirring detail. It is high-fidelity, not in the same way as the lush-sounding Sleeping Through the War (review here) from 2017 that their fifth album, 2018’s ATW (review here), seemed to be reacting against, but in a way that is more about the band reaching into themselves as artists.

Staebler‘s experimental bent that’s now manifest as well in the side-project Uvways shows up in cuts like “41,” “Rats in Ruin” and in transitions between songs, taking the place that up to this point was filled by keys or other arrangement elements from a fourth member of the band, be it Allan Van Cleave or the shorter-tenured Jonathan Draper, who appeared on ATW only. McLeod‘s progressive, sometimes aggressive turns of guitar are writ large throughout in the full dynamic breadth of his work, from “Everest” to the lead wash and coming-apart-at-the-seams jam at the end of 9:50 side A closer “See You Next Fall” and the crunching fuzz reminiscent of 2013’s Lightning at the Door (review here) that shows up on second track “Enemy of My Enemy” and the later “41.”

He too has a side-project in the instrumental and more metal-leaning Woodsplitter. And Parks, who turns verses into poetry readings here more than ever, obscure in his images painting Romulus and Remus as good ol’ boys on “The Children of Coyote Woman,” seeming to critique touring life in “See You Next Fall,” leading an invocation of unplugged Nirvana in the early going of nine-minute finale “Rats in Ruin,” and layering his voice to make a single out of “Enemy of My Enemy” even as later he seems to refuse to be wholly caught int the shove of “Lights Out.” Anytime he wants to spend a year or two wandering in the woods and put out an experimentalist Americana/neo-folk record, one doubts he’d meet with argument.

all them witches at abbey road

Nothing as the Ideal draws together these different sides of these three players and builds itself as one entirely using elements of each persona. Allred has been a friend of the band of long-standing. He produced their 2015 New West label debut, Dying Surfer Meets His Maker (review here), mastered the 2019 single “1 x 1” (discussed here) — among other works — and his knowledge of the band’s workings is all the more essential throughout these tracks as they recorded as a three-piece for the first time. It is no shock that the latest All Them Witches album sounds different from the one before it. They all do. But while they approach it with characteristic swagger and have perhaps inadvertently deflected the narrative via their choice of locale in Abbey Road, there’s no question that the former foursome taking on the task of presenting themselves as a trio is a big change.

They’re helped throughout by time they put in touring in such a configuration, as well as by Allred‘s work at the helm, and while Nothing as the Ideal takes the band to places they’ve never been in terms of aesthetic, it’s also more their own than they’ve ever been, transcending the heavy blues genre-forging of their earlier work while seeming still to draw from the abiding melancholy of Dying Surfer Meets His Maker and the organic weight of Lightning at the Door. This is coupled with the unmitigated, seemingly unceasing growth of Parks, McLeod and Staebler as creative individuals, and the coming together of the familiar with the new is perhaps as much a sonic signature as All Them Witches have, regardless of the lineup. From the ambient unfolding of “Saturnine & Iron Jaw” through the push and pull of “Enemy of My Enemy,” the resonance of “Everest,” the twists of “41” and the build of energy that seems to happen across that song and “Lights Out” leading to the quiet initial stretch of “Rats in Ruin” — which itself ends with a brief jam from the trio together that sounds like a coda for career to this point — Nothing as the Ideal wholly lives up to the standard its title sets.

It finds All Them Witches chasing not a preestablished idea of who they are or what their songwriting process is or should be, but their own creative impulses at the moment. They have excelled at this since 2012’s Our Mother Electricity (review here) served as their debut LP, and while their productivity in the years since is something in itself to be admired — six albums in eight years, along with EPs, live releases and countless digital one-offs, etc. — the expressionist aspects of their work, the continuing progression of their craft and the memorable impression their songs make all comes together on Nothing as the Ideal in what feels like an act of self-defiance as much as one of self-definition. As recognizable a band as they’ve become, one never knows what shape All Them Witches might take as they move forward. The fact that they’re still so rife with potential six albums into their career can only emphasize how special a band they truly are.

All Them Witches, Nothing as the Ideal (2020)

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

All Them Witches on Instagram

New West Records website

Tags: , , , , ,

Here’s the Bio I Wrote for All Them Witches’ Nothing as the Ideal

Posted in Features on August 20th, 2020 by JJ Koczan

Every now and again I get lucky and I do a bio like this, turn it in, and word comes back and it’s all, ‘hey that’s awesome all set on this end thanks here’s some cash.’ This was not one of those cases. I also wrote the bio for All Them Witches‘ 2018 album, ATW (review here), but still, this was a different story to tell and wanted to be told in a different way. The band had things they wanted to say. The label had things they felt needed to be said. And I had a few points as well to get across about Nothing as the Ideal, which is out Sept. 4 on New West Records, whether it was about their making an album as a three-piece for the first time, their ongoing progression, tape-loop experimentation, or the simple fact that they recorded at frickin’ Abbey Road. There’s usually a fair amount to talk about with these guys, but this time around it seems like even more so.

But we got there, which is what matters. In the end, I went through a couple of drafts, interviewed Robby Staebler and Ben McLeod both, then ended up completely scrapping what I had and starting over. That, of course, was the final version. It was my favorite too.

And here it is:

all them witches

All Them Witches – Nothing as the Ideal bio

From the brimming light of the lead guitar on opener “Saturnine & Iron Jaw” to the mellow grunge unfolding in the finale “Rats in Ruin,” Nothing as the Ideal is a signature All Them Witches release, which of course means it sounds like nothing they’ve ever done before.

The Nashville trio thrive on contrast. Now six records deep into a tenure that began in 2012, they are unremittingly forward-looking, and while signature elements can be found throughout Nothing as the Ideal – from guitarist Ben McLeod’s prog-tinged explorations to the slacker-soul vocals of bassist Charles Michael Parks, Jr., to the restless energy and rhythmic nuance in Robby Staebler’s drum patterns – it is also their most experimental work to-date.

But contrast is the key: Tape loops coincide with unplugged minimalism. They recorded it in a strange place with a familiar producer. It’s their heaviest album marked by their broadest atmospheres, intimate and pummeling. It is unquestionably theirs even as it will no doubt engender ownership in anyone who hears it.

Nothing as the Ideal might forever be known as “the album All Them Witches made at Abbey Road.” Fair enough. You don’t record in a legendary studio surrounded by mics The Beatles used, sitting on the bench where John Lennon tracked the acoustic guitar for “A Day in the Life” without acknowledging that history. There’s no getting away from it.

Where Nothings as the Ideal triumphs, however, is in making that space and that history the band’s own. Working with Mikey Allred, who previously produced 2015’s New West label debut, Dying Surfer Meets His Maker, and has done other mixing and mastering along the way, All Them Witches not only did justice to the moment they were capturing – the sheer adventure of being there, doing that thing – but answered the call of their inspiration as they always do.

It wasn’t supposed to be that way. The idea was to take time, do it themselves. But after spending the early part of 2019 constructing a studio in a church outside Nashville where Staebler was living and writing, writing, writing, the band came up against the deadline of a 35-date European arena tour with Ghost and had the single “1×1” to show for it. They put that song out, did a video, and after the tour, redirected their purposes. With the momentum of playing every night behind them, Nothing as the Ideal at last began to take shape.

Abbey Road might not have been the plan, but with the harder deadline of recording dates locked in, All Them Witches were able to focus more clearly. It wasn’t about applying pressure, but about doing what best served the songs. With Allred as the trusted party at the helm, they succeeded in crafting a defining moment for who they are as a band, with each player’s personality coming together to create a fluidity that is unique unto them.

Whatever they’ve done in the past, whatever they’ll do next, Nothing as the Ideal epitomizes the literal and figurative journey All Them Witches have made, and it is to be treasured all the more for that.

All Them Witches, “Lights Out”

All Them Witches, “The Children of Coyote Woman” official video

All Them Witches, “Saturnine & Iron Jaw”

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

All Them Witches on Instagram

New West Records website

Tags: , , , , ,

Oginalii Post “Spacegoat” Video; Pendulum EP out Oct. 23

Posted in Bootleg Theater on August 11th, 2020 by JJ Koczan

oginalii

Nashville-based heavy psych/post-rockers Oginalii released their debut album, Cause and Affection in April 2019, following the 2017 EP The Grey and a handful of digital singles that would soon enough appear on the record. On Oct. 23, the four-piece, melodic and contemplative on the full-length, will offer up the new Pendulum EP, which they tout as having a heavier sound. Fairly enough so, for it having been recorded earlier this year during the pandemic lockdown — the PR wire calls it “quarantine season,” and I like that — and if indeed the release pushes Oginalii toward darker and weightier fare, the video for “Scapegoat” finds them maintaining the atmospheric sensibility of Cause and Affection, which certainly had plenty of heft by the time it got to the thud and roll of its nine-minute title-track, while offsetting it with such claustrophobia.

I’ll readily admit to not being familiar with Oginalii before the “Scapegoat” video came through. If I had the chance to hear the album last year, I have no digital paper trail of that contact, but whatever. I’m glad to dig in now, and already in listening to it, I’m looking forward to what Pendulum might bring in terms of overall impact. For now, it’s a cool video and a right-on vibe in the song that’s equal parts troubled and hypnotic, and Oginalii — it’s so hard not to double the ‘l’ instead of the ‘i’ when typing that; the moniker is “my friend” in Cherokee — earning its dark color scheme and deeper, foreboding shadows. I look forward to hearing what a song called “Black Hole” by this band sounds like.

Info from the PR wire follows the clip beow, including an explanatory quote from guitarist/vocalist Emma Hoeflinger.

Please enjoy:

Oginalii, “Scapegoat” official video

The tumult of 2020 fueled the creation of Pendulum, the newest record from Nashville, Tennessee’s Oginalii. Created in part during the quarantine season, Pendulum stands in stark contrast to the band’s well-received debut Cause & Affection. While that album hinted at darker themes and tones, Pendulum swings all the way into the darker and bleaker side of life. Oginalii will release Pendulum on Oct 23 via the esteemed, newly resurrected Devil In The Woods label.

“I began writing the base of the song during a really odd time in my life where a lot of difficult changes and events were happening around me,” says front-woman and songwriter Emma Hoeflinger. “I felt like some of the people closest to me were beginning to fall out of my reach. One of the main themes of this record is the understanding of the way people change around you and thus, you change as well. The women in my family and the women around me were beginning to change, and it scared the hell out of me. I wanted to hold them all as close as I could, but I realized that I was suffocating them as well as myself by trying to control what wasn’t necessarily something bad. If I want to be someone worthy of these people around me I also have to rise, change, and grow with them. That’s where the chorus came from. I kept trying to come up with something clever, and something that had ‘meaning’. However, sometimes you just need to scream and yell out to the people around you and let go. You have to let go instead of getting swallowed up by your own control.”

Pendulum Track List
1 – Veils
2 – Scapegoat
3 – Pendulum
4 – Black Hole
5 – Pillars
6 – Stripped the Screw

Oginalii is:
Emma Hoeflinger (vocals/guitar)
Ryan Quarles (guitar)
Simon Knudtson (drums)
Emma Lambiase (bass)

Oginalii, Cause and Affection (2019)

Oginalii website

Oginalii on Bandcamp

Oginalii on Instagram

Oginalii on Thee Facebooks

Devil in the Woods website

Tags: , , , , ,

All Them Witches Announce New Album Nothing as the Ideal out Sept. 4

Posted in Whathaveyou on June 5th, 2020 by JJ Koczan

all them witches at abbey road

All Them Witches will release their sixth long-player, Nothing as the Ideal, on Sept. 4 through New West Records. To go along with the album announcement, they’re streaming the opening song from the release, “Saturnine and Iron Jaw,” and you can find it below.

I recently had the pleasure of writing the bio for the album — still need to turn in the invoice, actually — and in talking to guitarist Ben McLeod and drummer Robby Staebler for that, it became even easier to get excited about the forthcoming collection. I’ll post that bio here at some point, and would do it now except I’m not sure if I have permission yet. So maybe later on. Still a while before September gets here anyhow.

Independent of each other, Staebler and McLeod both cited it as the work of which they’re most proud among their releases. Fair enough for any band with a new album, but the record is indeed progressive in ways they’ve never been before, their first recording as a trio allowing them to explore more direct, weighted tones, minimalist atmospheres and the use of ambient tape loops for an experimental feel throughout that ties seemingly disparate ideas together.

So, yeah, more to come. And of course I’d be remiss if I didn’t note they recorded Nothing as the Ideal at Abbey Road Studio in London. You might have heard of it, kind of a big deal. So there’s that too.

The announcement was basically the tracks and the song, and here it is:

All-Them-Witches-Nothing-as-the-Ideal

ALL THEM WITCHES – Nothing as the Ideal

We all need to stand together. Higher sense of perception. Nothing. That’s the ideal. Gentle hand of confusion. Lead me back to myself.

NEW ALBUM – NOTHING AS THE IDEAL??
OUT 9/4
PRE-ORDER NOW http://newwst.com/atwnatiFA
SONG PREMIERE

Tracklisting:
01. Saturnine & Iron Jaw
02. Enemy of My Enemy
03. Everest
04. See You Next Fall
05. The Children of Coyote Woman
06. 41
07. Lights Out
08. Rats in Ruin

Produced by ATW and Mikey Allred
Mixed / Mastered: Mikey Allred
Assistant Engineer: Neil Dawes

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
http://www.allthemwitches.org/
https://store.newwestrecords.com/

All Them Witches, “Saturnine & Iron Jaw”

All Them Witches, “1×1” official video

Tags: , , , , ,

Friday Full-Length: All Them Witches, Live at the Garage

Posted in Bootleg Theater on May 15th, 2020 by JJ Koczan

 

Consider All Them Witches in 2014. The band hadn’t been touring for all that long. They had two full-lengths to their name, but what a two full-lengths they were in 2013’s Lightning at the Door (review here) — which was dropped digitally and wouldn’t see physical pressing until the next year — and the prior Our Mother Electricity (review here), which they put out on their own in 2011 only to have it picked up by Elektrohasch Schallplatten the next year, earning the Nashville then-foursome the honor of being the first and to-date only American band to be released by the German imprint. By the time they played the second of the two shows the recordings of which comprise early 2015’s At the Garage, they’d also released the Effervescent EP (review here), which they’d press to vinyl to take on tour, as well as their cover of Albert King‘s “Born Under a Bad Sign” (posted here), a jam called “George Dubya Kush” (posted here) and sundry other downloadable thisses and thats. They were still a relatively new group, though it was clear by 2014 that Lightning at the Door was resonating in a significant way.

At the Garage is comprised mostly of material from that now-essential second album; “Mountain” opens, and apart from “Elk Blood Heart” from the debut appearing in succession with “Marriage of Coyote Woman,” the only other non-LP track is “Born Under a Bad Sign,” which closes the set. Recorded in Winston-Salem, North Carolina, in March and September 2014, it flows as a single performance in no small part because of the flow in the songs themselves — a conscious drift given direction through each member’s contributions, whether it’s Robby Staebler‘s can’t-sit-still-and-don’t-want-to-try drum tension, Ben McLeod‘s classy-in-spite-of-themselves solos, the Fender Rhodes of Allan Van Cleave that was so crucial to the early impressions the band made, or the bass twists and slacker-soul vocals from Charles Michael Parks, Jr. — and captures a sense of spaciousness in a way that live albums can’t always do, the vocal echo seeming to reach out not just through the room but through the speakers as well. Highlights include the duel between McLeod and Van Cleave in “When God Comes Back,” the entirety of “Mountain,” Parks‘ starting “Charles William,” and, well, pretty much the rest of it.

The point of considering All Them Witches in 2014 is they were a band completely on fire. Confident and brash enough to have a firm sense of who they were as players, a couple tours under their collective belt in order to all them witches live at the garagetighten up their performances and allow for some audience interaction — see the stop about halfway into “Charles William” — and an energy to their songs that was youthful even as it carried a heavy blues weight that was invariably older-feeling. Dynamic as players and more progressive than they let on, they were in a special place as a group, being newly locked in and on the cusp of realizing their potential. All Them Witches would prove over time that their trajectory was one of constant change and evolution, each record different and building on the last, but  is there a more exciting moment for a band than being on the way to their third album? How many times has the story been told of an act with two full-lengths under their belt knuckling down, taking the lessons they’ve learned and applying them to the third? It’s one of rock and roll’s great tropes. Our Mother Electricity and Lightning at the Door were hardly warmups, but at the time, not knowing what was coming next, the air of excitement and anticipation is all over At the Garage, and it makes for a truly special listening experience with the context of hindsight.

One has to wonder if perhaps the band didn’t have that in mind when they released it. Again, think of the timing. At the Garage was released on Feb. 10, 2015. On June 18 that same year, they’d announce they’d been picked up by New West Records for the October release of their third album, Dying Surfer Meets His Maker (review here). Sure enough, All Them Witches at this point had already done a fair amount of self-bootlegging of shows mostly from Summer and Fall 2014, but an actual live album, produced and mixed and mastered, is something different. One has to imagine that by Feb. 2015, they’d already been in talks with probably several labels, New West among them, and maybe — consciously or not — At the Garage is the band’s own way of realizing they were about to enter a new stage of their career. Maybe this is All Them Witches saying goodbye to their early days en route to something new.

Unlikely, to be frank. In my experience, All Them Witches have neither been that sentimental about their work or that calculating, but it’s something to consider even in terms of their desire to mark what was the beginning of their tenure as a touring band with a live record to look back on later. And that’s the whole point of live records anyway, right? To have and, as a listener, either say you were there — that show, that tour, that time — or you wish you had been? I don’t know. These five years later, it’s easy to look back on cuts like “Funeral for a Great Drunken Bird” and “Death of Coyote Woman” — which barely holds together on stage, but does — with a feeling of nostalgia. Long before the band toured with Mastodon or Ghost, long before they couldn’t just post one-off goofball jams for the hell of it anymore. That time. It was a special time. That’s all.

All Them Witches will release a new album later this year that they recorded at Abbey Road Studios. It’s the first studio work they’ve done as a three-piece and they tracked it with Mikey Allred just before the COVID-19 lockdown really took hold. I talked to Robby Staebler about it earlier this week and will be writing the bio for it I guess as soon as I have the time to do so. So maybe I’ve got the band on my brain, thinking of the places they’ve gone, the places they still can go with their sound, and the soul that still resides at heart in what they do.

More on that later, I suppose. For now, and as always, I hope you enjoy.

Thanks for reading.

I slept last night, which was a welcome change. Kind of went nuclear with Xanax, ZzzQuil and melatonin over the course of the evening prior to bed, but whatever. Can’t argue with results.

I go back and forth between feeling like I’m cruising through the day and feeling like I can barely keep my head above water. I owe a lot of people messages and emails back. If you’re reading this, I don’t want to waste your time with woe-is-me bitching, but my awake-and-aware minutes are at a premium these days, it seems. Yesterday I was writing the Gimme Radio post from my phone at a sandbox. Right now, The Patient Mrs. has the Toddlerian Pecan while I’m typing this.

And the power just went out and I heard a boom outside, so this might be an interesting day.

…And it’s back on? Bizarre.

Anyway, she’s giving him breakfast, then we’ll go for a run. She has a meeting (virtual) from like 9:30 to 2PM or some shit and it looks like rain, so I don’t know what course the day is going to take, but going running helps even the kid out. Helps tire him out. We go up a big hill in the neighborhood here. It’s good for me too, but I can feel myself becoming compulsive about it, which is precisely why most of the time I try to avoid “exercising” as opposed to just being physically active in some way. Because I don’t need one more fucking thing to obsess about.

But we’ll get through the day, like we do. Bumbling and tumbling or not. I don’t know. We’ll figure it out.

New Gimme show today, if you missed the playlist. 5PM Eastern, listen at http://gimmeradio.com.

I hope you have a great and safe weekend. I hope you and yours are well and that you’re holding up, life and livelihood and all of it.

Thanks. FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

 

Tags: , , , ,