ALBUM REVIEW: All Them Witches - "Sleeping through the War"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 24/02/2017

Label: New West Records

There’s a lot going on and much of the album will surprise those expecting a one-to-one follow up to “Dying Surfer Meets his Maker.” If you get it, “Sleeping through the War” is an album that will continue to grow.

“Sleeping through the War” CD//DD//LP track listing:

1). Bulls

2). Don’t Bring Me Coffee

3). Bruce Lee

4). 3-5-7

5). Am I Going Up?

6). Alabaster

7). Cowboy Kirk

8). Internet

The Review:

What a strange trip All Them Witches has been on. Their debut album, “Our Mother Electricity” is a classic stoner blues album but done in such a way that it found backing by Elektrohasch Records. You know, the same place that puts out all of the Colour Haze albums. ATW’s follow up, “Lightning at the Door” put the band on an independent mission to find more depth in their sound. This they did, and when their 2015 follow up “Dying Surfer Meets his Maker” was announced, we were all sure that the ’Witches were going to own this stoner-blues thing. Own it they did, though not in any sort of way that their fans were expecting. First off, they were signed to country-rock power house New West Records and secondly, they released an album that lacked focus but made up for it in spades with vibe. If the band’s schedule from the past two years – as well as my humble opinion - is anything to go by, this approach worked very, very well for them.

Just a few days ago, All Them Witches released their new album, “Sleeping through the War.” Anticipation is high on this one and with good reason. The question is, what will the band do now?

A jolty mix of the All Them Witches sonic palette opens up the album. A strange introduction, to say the least. Opener “Bulls” is as dreamy as it is riffy, almost forcibly playing the one off of the other. The song’s back half flies off the handle with a sturdy working of the keyboard which, admittedly, might take some getting used to. “Don’t Bring Me Coffee” follows “Bulls” as a rugged guitar rocker underscored by a slight cowboy theme.

At this point, the questions rising to the surface are - where are the jams? Where is the experimentation? Where is the band that made “Dying Surfer Meets His Maker”?

Just as “Dying Surfer Meets His Maker” jumped around in its opening three tracks, as does “Sleeping through the War.” So the sturdy “Bulls” or the catchy “Don’t Bring Me Coffee” shouldn’t scare anyone off because these two tracks don’t necessarily set the album’s tone. In fact, “Don’t Bring Me Coffee” may be a reference to the closing track on Can’s seminal album “Tago Mago.” And though the Can influence is not felt in this particular song, “Sleeping through the War”’s B-Side certainly shows how All Them Witches have been influenced by Can. So the fact that this cowboy-rocker shares its name with a krautrock jam, “Don’t Bring Me Coffee” might just be the song that sums up “Sleeping through the War” perfectly.

Before the Can influence is heard, though, All Them Witches jump on another riff rocker, “Bruce Lee.” The song rolls nicely – that’ll be a riff you’ll hear in a live setting a lot – and it complements the follow up “3-5-7-“accordingly. Here, All Them Witches focus on the loud-soft dynamic and in doing so, set the stage for a 20 minute live version of this song. To wit, it’s “3-5-7” that straddles Side A and Side B and therefore serves as the pivot point in the album’s sound.

Without ruining too many surprises, the following four songs can be lumped together as a 20 minute high. The subtleties in these songs make for a laid back vibe that reminds a bit of “Open Passageways” from the band’s 2015 outing. The Can influence is more apparent and the listening experience seems to be a logical next step for All Them Witches. The songs here -  “Am I Going Up,” “Alabaster,” “Cowboy Kirk,” and the back porch blues of “Guess I’ll Go Live on the Internet” - are rhythmically groovy and structurally free, a combination only All Them Witches can pull off without coming across as just another jam band.

With “Sleeping through the War,” All Them Witches have given us an album that’s more diverse than anything they’ve done until now. Though the variety on offer here detracts slightly from the album’s flow, these songs are ripe for analysis and repeated listens. There’s a lot going on and much of the album will surprise those expecting a one-to-one follow up to “Dying Surfer Meets his Maker.” If you get it, “Sleeping through the War” is an album that will continue to grow. For those who aren’t immediately hooked, this album might be ignored. Only time will tell which of these two groups will be the loudest. In the meantime, All Them Witches seem happy doing what it is they want to do. Their energy is felt in these tunes so it’s obvious the band has made the album they wanted to make.

“Sleeping through the War” is available here

Band info: bandcamp || facebook

King Buffalo - "Orion" (Album Review) & Exclusive Song Premiere

By: Victor Van Ommen

Album Type: Full Length

Date Released: 05/08/2016

Label: Independent

King Buffalo’s music borrows as much vibe from All Them Witches as it does the headspace that Colour Haze finds themselves in. King Buffalo’s music is concise but it’s also psychedelic and free. Each note is hit with diligence, the builds take their time to unfold and every moment of these 45 minutes contributes something to the greater picture.  “Drinking from the River Rises” summarizes “Orion” neatly and therefore makes for a solid conclusion to this very impressive debut

“Orion” DD//LP track listing:

1). Orion

2). Monolith

3). Sleeps on a Vine

4). Kerosene

5). Down from Sky

6). Goliath

7). Orion Subsiding

8). Drinking from the River Rising

The Review:

In Greek mythology, “Orion” plays the role of a hunter. So when King Buffalo’s album opens by taunting “Orion” with the lyrics “Orion can you hear me?” I can’t help but think that this band from New York have taken on the courageous task of writing a concept album. This is merely speculation, but I do believe that the band is telling the story of a hunt - told from the perspective of the hunted - complete with ritualistic sacrifice. Themes of life, death, surrender, victory and sweet release are explored during this story, one that weaves its way through these nine fantastic psychedelic rock songs.

The fact that there’s a concept running through “Orion’s” lyrics is enough to keep me coming back. The meaning of the lyrics falls differently with each listen, let alone how they come across when being read from the lyric sheet. Singer Sean McVay may not have the most impressive pipes in the business, but he sure does know a thing or two about delivery and phrasing, and the effect this has on the meaning of the songs.

King Buffalo’s music borrows as much vibe from All Them Witches as it does the headspace that Colour Haze finds themselves in. King Buffalo’s music is concise but it’s also psychedelic and free. Each note is hit with diligence, the builds take their time to unfold and every moment of these 45 minutes contributes something to the greater picture. How this album is mixed underscores King Buffalo’s mission in pulling the listener in; the bass and drums sit out front and pound away as the guitars float below the surface, subtly grabbing hold of the lead, begging the listener to tune in closely in order to hear everything.

Like we’ve come to expect from bands in this genre, “Orion” covers a lot ground. The introductory build of the opening track takes two and a half minutes to get going and only then are the first lyrics uttered. By the time the album has hit its halfway point, everything from spacey guitar solos to the deep, bass-led groove of “Kerosene” has passed by. The swaying in “Sleeps on a Vine” lives and breathes, breaking free from the emotive heft during the song’s infectious chorus.

The album’s (soon-to-be) Side B leads in with a beautiful piece on the acoustic guitar. Steady drumming in the song’s back half is reminiscent of All Them Witches’ “Call Me Star,” but King Buffalo quickly take back control of their own musical landscape with a wash of echoing guitars in “Goliath.” Lyrically, things get pretty spiritual at this point as McVay tells of rising to the heavens to the tune of the guitars running a victory lap and the drums crashing away with reckless abandon

Album closer “Drinking from the River Rising” pulls everything back together. It pushes past the nine minute mark, and does so by pulling out all of the stops. The ground that King Buffalo covered in the eight preceding songs gets mashed together into this one. An interesting choice that strays from the band’s credo of giving each song the time and space to develop one idea at a time, but “Drinking from the River Rises” summarizes “Orion” neatly and therefore makes for a solid conclusion to this very impressive debut.

Do yourself a favor and hit play on the Exclusive Song Premiere of the opening track "Orion". Enjoy.

“Orion” will be out on 5/08/2016 but is available for pre order here

Band info: bandcamp || facebook

A Year in Review: Victor Van Ommen's Top 10 Records of 2015

By: Victor Van Ommen

2015 was a year which brought out two heavy rock masterpieces and one Clutch album. These three albums are tied for my number one spot. The other seven records on my top ten are there because of how god damn tasty the jams were and that a feeling of guilt rose up inside of me every time I returned the album to its sleeve. Though in terms of innovation and genre-defying riffs, there was little on offer in 2015 but none the less, I got quite a kick out these ten albums and will continue to do so for the foreseeable future. So without further ado, my top ten albums of 2015 are: (click on the artwork for full review links)

10). Brent Best – “Your Dog, Champ”

In the song “Good Man Now,” Brent Best sings:

Momma, you always told me that the only good man was a dead man

and I guess it had something to do with who you chose to be your husband

So I go to him at night and I nailed him to his bed

And I stood there and I laughed while the sheets were dripping red

So momma please don’t cry, he’s a good man now

It may be acoustic but hot damn, its heavier than a slab of Texas BBQ Spare Ribs.

9).  Ecstatic Vision – Sonic Praise

Ecstatic Vision released a strong debut that mixed elements of Hawkwind with Monster Magnet. So I ask you, what’s not to like?

8). Weeed – Our Guru Brings Us the Black Master Sabbath

These guys took me by surprise. I generally let bands with such names pass me by because I’m a fan of subtlety but I couldn’t deny the raw, spiritual groove in album opener “Bullfrog.” I don’t remember why I put the song on in the first place but I’m glad I did.

7) The Midnight Ghost Train – Cold Was the Ground

Aside from this album being 11 songs of hard-rock riffs that pound you in the face, there’s not much here in terms of wow-factor. That said this doesn’t take away from how good these songs are. At times they miss a little depth but the amount of energy exuding from these tracks makes up for it.

6). Death Alley – Black Magick Boogieland

There are a surprising amount of fantastic Dutch bands out there – I’m looking at you, Astrosoniq – and now we can add Death Alley to that list. Check these guys out, you won’t regret it.

5). Snail – Feral

I had never been completely impressed by Snail but I also never gave them a fair chance. This changed when I was sent their new album “Feral,” to review. As an album, it pits heavy riffing against a light vocal delivery which is a combination that will get me every time.

4). The Atomic Bitchwax – Gravitron

This shit-kickin’, diesel-fueled barn burner of an album is all things that I like about stoner rock. Speed, riffs, solos, drums, and strong choruses. I can’t get enough of these guys.

3). Clutch – Psychic Warfare

I can’t remember the last time a Clutch album didn’t rock. I’m hearing a lot of grief that “Psychic Warfare” sounds too much like “Earth Rocker.” My response to this is, “so what, that was a damn good album, too!” In my book, Clutch can do no wrong.

2). All Them Witches – Dying Surfer Meets His Maker

All Them Witches is a band that I wish had more than just three albums out. With their new one, “Dying Surfer Meets His Maker,” the band has crafted something that is heavy according to every definition of the word while never really going over the top. They take their time unfolding these tunes yet the album is still too short. I can’t get enough of these guys. An absolute classic that I will be talking about for years to come.

1). Elder – Lore

I never liked Elder very much. And then Lore came out. Now I can’t stop listening to them.

Live Review: “Warming Your Feet by the Fire” - All Them Witches @ Cat's Cradle. Carrboro, North Carolina, 01/12/2015

By: Victor Van Ommen

All Them Witches have an allure that speaks to rockers far and wide. Having made their start on Elektrohasch, they caught the eye of psychedelic freakers like myself. From there, they took the independent road, releasing an album that was more rooted in the blues but no less experimental. They toured this album incessantly, garnering a grass roots following as a result. With their new one, “Dying Surfer Meets His Maker,” All Them Witches signed to country label New West Records and put out an album that is more Elektrohasch than ever without sacrificing any of their North American, Psychedelta sound. And judging by the t-shirts I saw walking around at Carrboro’s Cat’s Cradle last Monday – everything from Opeth to Death Cab for Cutie - it’s clear that this is an album for all walks of life.

All Them Witches are touring the United States right now in support of this album. I was lucky to be close (enough) to one of their shows during my vacation last week. It was a no brainer to go and catch that show since they have yet to come to Europe. Here’s my story.

We pulled into Carrboro, North Carolina well after the sun had set but still before the onslaught of rain let up. Our Air BnB host left us a stack of cold ones in the fridge for some pre-show fun which kicked things off very positively. We headed down to Cat’s Cradle after downing a few of the IPA’s for what would be one of the most enjoyable shows of the year. Maybe it was because I was on vacation that I say this or that being out on the road with an old friend has its own vibe, but one thing’s for sure, All Them Witches knew how to lay down a set.

The atmosphere at Cat’s Cradle was very pleasant. From the folks we met to the local brews on tap, everything was spot on. New Madrid opened the musical programming of the evening and took charge of the stage rather quickly. They didn’t necessarily gel as a unit very much – each member was lost in their own little world – but the sum of their parts worked out really well. I had listened to their album “Sunswimmer” just once prior to the show, which apparently left a positive mark on me because I was able to recognize a good number of songs from that one listen. Despite it being a Monday night, the crowd’s reaction to New Madrid’s sun-soaked, southern-psychedelic rock songs was positive.

As enjoyable as New Madrid was, All Them Witches have laid down a few extra miles in their time and this shined through. I’m not sure how large the venues are that All Them Witches normally play, but for the 150 or so in attendance that night at Cat’s Cradle, the band were able to make every one of us feel like we were being treated to a private living room concert. The serene “Call Me Star” opened the set, ultimately melting seamlessly into “Open Passageways.” There was a lack of crowd response during the transition which had me thinking that not many were familiar with these new tunes. This impression was neither confirmed nor debunked as the set wore on because with each beat, All Them Witches hooked in the audience one by one with their mesmerizing jams. It was by no means a requirement to know these songs; their playing encourages hips to sway, feet to move, and even a little bit of dancing. All Them Witches played off of this crowd interaction during the jam in “Charles William” which graciously exploded into a rollicking performance by drummer Robby Staebler.

“The Death of Coyote Woman” was played with swagger, in particular how Charles Michael Parks Jr. stepped away from the microphone with a smirk every time he sang “right on.” “Talisman” made everyone so quiet you could hear a pin drop. Staebler’s snare drum rang through the night while Parks sang with eyes closed, his voice echoing through the venue, creating a warm, cozy feeling. Much more went on during the set but this review is long enough as it is. I'll leave you with this - it may have been raining outside but inside Cat’s Cradle there was a fireplace burning.

Long story short, go see All Them Witches live. You won’t regret it

The Sludgelord 'Sour 16' for October 2015

By: Aaron Pickford

Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap.  Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.

So here is the The Sludgelord’s ‘Sour 16’ for October 2015, the 16 records you’re most looking forward too or are currently checking out.  Dig in, spread the word and perhaps revisit some records you may have overlooked.  The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! For more info click on the artwork. (Total views at the time of publication highlighted in red)

16). Zillah – ‘Serpentine Halo’ (210)

I don’t think I’m going out on a limb by saying that ‘Serpentine Halo’ is easily the band’s most accomplished work to this point. If forced to give an easy reference point, I’d say that this is a blend of ‘Whisper Supremacy’-era Cryptopsy along with very early Mastodon and a dash of Gorguts at their most disjointed and jarring. If that sounds as appealing for you as it does me, you should be in good hands with this album.

15). Seahag – ‘The RX Epidemic’ (220)

Metal never sounded so good and I’m glad these dudes woke from their slumber to produce this powerful and chaotic release. So many elements woven together with immaculate structure creating an intense ride that keeps this in constant rotation for me.

14). Suma – ‘Ashes’ (233)

It's a masterpiece of post metal tinged doom. The riffs are straightforward but able to smash through concrete with the volume and vehemence of which they're played. The guitars are layered heavily to allow them to invade your consciousness and claim your brain.  If you're reading this and have yet to listen to this album, stop wasting your time and listen at full volume!

13).Great Falls – ‘The Fever Shed’ (236)

Right from the first note of “Dressing the Saints”, there is nowhere to hide as the band assault the listener with an abrasive opening salvo of shards of metallic noise. Even when the volume dips during sparse minimal sections, there is always a taut menace to proceedings which feels like it could give way to chaos at any second.

12). Goblin Rebirth – ‘Goblin Rebirth’ (235)

If you want something that is out there, entertaining, and from a legendary band, look no further than Goblin Rebirth's self titled debut. Bend your mind, but only to the best of beats with these Italian masters of the reptilian beat!

11). Ravens Creed – ‘Ravens Krieg’ (239)

Once again, it is all about the riffs- Steve Watson managing to accurately mimic the sound of tanks rolling through your town and laying waste to it.  What you get is thirteen tracks of spiteful fury as the riffs and songs rage by.  If you like metal, you really should like Ravens Creed, being as they present the genre in its purest form: riffs, aggression, adrenaline and pace all combine to make a satanic racket of biblical (ha!) proportions.   Uncompromising, extreme music from an island of festering resentment. Hail The ‘Creed

10). Drowning Horse – ‘Sheltering Sky’ (246)

I am brought back to why I listen to this kind of dirge: it taps into the static, that universal thrum, and serves as a meditation, a reprieve from the chaos and noise surrounding us.  A job extremely well done and I’ll have my eye on Perth’s Drowning Horse going forward, hoping that they continue to churn out the catharsis

9) = Graveyard – ‘Innocence & Decadence’ (247)

All in all, “Innocence and Decadence” could be viewed as a polarizing record. Graveyard may lose fans, or they could very well gain them. They’ll probably always have older fans pissing and moaning over “the good old days,” but it’s also likely that, regardless of the extreme reactions people may have against this album, Graveyard will remain one of the most top notch bands around today.

9) = Hyne – ‘MMXV’ (247)

They show off groove without being flashy, talent without being full of themselves, and honestly which puts many bigger bands to shame. If we can see more of this, I am going to have to get more hours in my day! And listen for that little Sabbathian charm!

7). Bastard Grave – ‘What Lies Beyond’ (255)

From the opening of ‘From The Depths’, you know exactly what you are getting; feral death with a punk sensibility. This continues right the way through the album, I am pleased to say. Each song fits nicely with all the others.  No melodies here; straight forward Entombed/Dismember/Grave worship- chainsaw guitars, meaty but rough and ready drums and that bass sound you love are all present and correct.  For fans of all the bands noted along with Entrails and any other sons of Northern darkness you care to name. Ripping stuff!

6). Grim Van Doom – ‘Grim Love’ (273)

I can tell from the off that run of the mill stoner/doom this most definitely is not.
'Goddamn This Love' has your doomy qualities but with an Unsane edge to it (without being too obvious an influence). Vocally I'm reminded of Stephane Azam from French avant-sludge troupe CROWN, and Fade Kainer from Batillus.  'Snowfields' is straight from the Abominable Iron Sloth/Will Haven school of riff writing, jagged and angular but at the same time, round and smooth. This band has set a high standard for whatever they follow this up with, can they do it? I'll be waiting to find out

5) Terzij de Horde – ‘Self’ (283)

As someone who has been listening to black metal for nearly twenty years, I’m thankful that there are bands out there like Terzij de Horde challenging black metal’s standards, to keep it from losing what made it special to me in the first place. Beyond being one of this year’s finest albums, ‘Self’ is important because the beliefs and mindset that gave this album life are as purely black metal as it gets.

4). Clutch – ‘Psychic Warfare’ (311)

It’s the precise interplay in each of these songs that make “Psychic Warfare” – dare I say it – a competitor for album of the year. Be it the way Maines bridges Gasters swing with Sult’s stiff blues in “Quick Death in Texas,” or how the chorus in “Firebirds” only works because of the foundation provided by the verses, “Psychic Warfare” is a mature, well-written album.

3). All Them Witches – ‘Dying Surfer Meets His Maker’ (320)

Groovy and slow like the rocking back and forth of a fishing boat on a quiet lake seems to be the state of mind, but it’s not a lazy album. The free falling jams are certainly laid back and the songs are no different, such as the case with “Open Passageways,” a prime cut that tells a bizarre story while being guided by a wonderful string section that takes this song to a whole new level.

2). Girra – ‘Girra’ (329)

Girra plays a gothic form of blackened doom, and they play it effectively. Their tones, bleak and unflinching, wash like a tide with their almost clanging rhythms, over a very melancholic flat sounding drum beat. It sounds like the beating of a rotted gourd made into an instrument.

1). Horrendous – ‘Anareta’ (439)

There’s so much to enjoy and unpack as I listen to this album again and again, because every song offers a new wrinkle to the formula or another compositional element that most bands wouldn’t think to use. It’s so fucking rich and dense. To put a finer point on things, ‘Anareta’ is the sort of album that lifts death metal as a genre up.  It’s everything I could ask of a death metal album in 2015 and there’s virtually nothing in metal as a whole that’s in Horrendous’ league right now

The ‘Sour 16’ features reviews by, Chris Bull, Eric Crowe, Hunter Young, Dan Jackson, Richard Maw, Mike Wilcox, Victor Van Ommen, Charlie Butler & Eric Sugg