The groundwork for what has become the relentlessly-touring sonic assault known as The Koffin Kats was laid near Detroit, Michigan when Vic Victor (Lead Vocalist, Upright Bass) joined forces with long-time friend Tommy Koffin (Guitar). After adding Damian Detroit (Drums) the band kicked off in June 2003, stopping for nothing. Now, with over ten years of touring internationally and over two thousand live shows, the touring trioâs current home is out on the open road.
The Koffin Kats began by putting together songs with such subjects as dealing with the horrors of the real world, as well as Science Fiction. The band started in small local bars playing for beer, hoping for gas money, and eventually made their way out of the Midwest. The next couple of years contained positives including numerous North American tours, and negatives concerning changes at the drumming position. During this time they released their first three albums: Koffin Kats (2003), Inhumane (2005), and Straying From The Pack (2006).
The three album releases and their supporting tours gained attention for The Koffin Kats and helped get the band noticed in the wide world of punk and psychobilly. In 2007 Vic and Tommy connected with drummer Eric âE-Ballâ Walls to record the bandâs fourth studio album, Drunk In The Daylight (2008), and catalyzed what the band is now known for: love for their fans and the road, and playing everywhere for everyone willing to watch and listen.
In the years following the release of Drunk In The Daylight, The Koffin Kats have established their name performing in Europe, and have also been included on tours with some of the tops acts in psychobilly, including, but not limited to, Mad Sin, Nekromantix, and The Meteors. In 2009 the trio released their fifth studio album, Forever For Hire, and Tommy departed at the yearâs end to pursue a normal life. Shortly thereafter, âEZâ Ian Jarrell took over the guitarist position and joined the band on tour. While on the road they worked on the material that would become featured on their split album with fellow psychobilly act 12 Step Rebels, From Our Hands To Yours (2011).
The Koffin Kats signed with Sailorâs Grave Records in late 2011, and released Our Way & The Highway in January 2012. The trio supported their sixth studio albumâs release with non-stop international touring, finally ending in summer of 2013. In autumn of the same year, they released another full-length album with Sailorâs Grave Records, Born Of The Motor. Sales and reviews have proven Born Of The Motor, the bandâs seventh studio album, to be their most successful release to date.
Early 2014 brought another change to The Koffin Katsâ member roster; Ian Jarrell left the band to handle personal business at home in Albuquerque, New Mexico. Not wanting to bring someone too far removed from The Koffin Kats family into the fold, Vic and Eric enlisted John Kay (Guitar). John was the engineer on numerous recordings.
The founding lineup returned in 2016.
Six years after his departure, Tommy Koffin returned to playing guitar with The Koffin Kats. With Vic Victor on lead vocals and upright bass, and E Ball Walls on drums. In 2017, the trio released their latest album titled âParty Time In The End Times.â
2019 is a year of new music and international touring. KK will be releasing a new song each month while touring throughout North America and Europe.
You can keep up with Koffin Kats on all of the social media outlets. The band likes to keep it âold schoolâ and suggests you check out their website at www.koffinkatsrock.com for all official information on news and tours.
The Commonheart - Do Right Pittsburgh 2 with Special Guests The Buckle Downs, DJ Big Phill - Presented by Opus One & PromoWest North Shore
Coming back after multiple sold out events and a pandemic , Eden Ivy is inviting you to another night of debauchery at a whole new venue including booze, boobs and all of your favorite burlesque babes!
We have quite the line up that will titillate all of your senses and send you home fully satisfied but wanting more.
Your Mistress of Ceremonies: Arla White
Featuring Performances By:
Luna La Creme
Stripping Kitten: Desdemona Lott
For better or for worse, life keeps moving forward. It's this fundamental truth that Lexi Vega, the creative force behind Mini Trees, confronts throughout her debut album Always In Motion. But coming to terms with this inevitability has been a life-long struggle.
The daughter of a Cuban-born father and Japanese-American mother, the uniqueness of her identity has been an ever-present tension in Lexi's life. She never quite fit in growing up within predominantly white communities in suburban southern California, with few who around her outside of her family to understand the generational scars caused by both exile and internment. When she was only 5 years old, Vega's father, a professional drummer himself, took his own life. These traumas set in motion an ongoing questioning of Vega's own self identity -- and Mini Trees has provided the palette for Vega to process, to persevere, and to grow.
After playing drums in various projects for years, Vega began writing and recording her own music under the moniker Mini Trees in 2018. She recorded her first solo track in the Summer of 2018 with producer Jon Joseph and was immediately hooked on the feeling of creating something that spoke directly to her as an artist, fully in control of her own vision. Mini Trees debut EP, Steady Me, dropped in 2019 and Vega followed it with 2020's EP, Slip Away.
Following the release of these two EPs and with ample time to work on music during 2020, Vega both found herself ready to progress creatively and challenging many of her long-held beliefs and notions about her own identity. Originally envisioned to be yet another EP, Vega instead began working on what would become her debut full length, Always In Motion, a collection of relatable indie-pop songs that acknowledge our collective anxiety about life's improbability.
"Moments In Between," Always In Motion's ethereal opening number, was written early on in the process, kick-starting Vega into songwriting mode and reflecting the anxiety and dread she was grappling with as the world shut down around her. That sense of uncertainty pervades the album, although it's more universal than circumstantial as Vega uses the lyrics to consider how we move through life with a constant sense of unknowing. "Moments In Between" wonders whether spiritual belief can help us accept all types of challenges, although the introspective track doesn't necessarily find a conclusion.
"When you're in the midst of something painful you long to get to the other side of it," Vega explains. "You want to be free from that. Faith can mean that even though life is long and painful, there is hope at the end of it all. I like the idea of there being something better than this on the other side. That possibility acknowledges that while people go through periods of intense anxiety and dread, they make it through."
"Carrying On," a pulsating, layered track, was written during a trip to the desert, where Vega struggled to reconcile her sense of the world with actual reality, especially during a time when everything felt so unbelievable and surreal. The lush "Cracks in the Pavement" reflects on identity, with Vega acknowledging and embracing who she is and recognizing that change has to come from within.
Those themes extend into "Spring" as Lexi explores long-term relationships, wondering whether they can withstand one partner's internal evolution. "It explores that fear of when you care about something so much that you don't want to lose it," she notes.
The closing track, "Otherwise," confirms that there is no easy answer for these queries, but maybe that's okay. Life, as usual, moves forward.
"I liked the idea of ending on an unresolved note," Lexi says. "It emphasizes that there's no certainty until we reach the end. That's the only truth that seems reliable. You can't ever know what's going to happen until you get there. And that doesn't have to conjure up feelings of dread. Over the course of the album I teeter-totter between having questions and wanting answers, but the resolution is to be okay with not knowing. I think I do find some acceptance along the way, but the album purposefully concludes with no real resolution."
Lifelong friends and deep-north natives, musical group Michigan Rattlers play heavy-hearted folk-rock with an aching dose of Midwestern nice. Graham Young (guitar), Adam Reed (upright bass), Christian Wilder (piano), and Tony Audia (drums) began writing music and performing together in their Northern Michigan high school.
They regularly played every bar, cafe, and stage in town, developing a musical chemistry informed by the likes of AC/DC, Creedence Clearwater Revival, Bob Seger, and more.
After a few years apart, Reed and Young settled down in Los Angeles, recorded a short demo, and began playing locally. The demo found its way into the hands of super-producer Johnny K (Plain White T's, 3 Doors Down), and they cut the bulk of their first EP at NRG Studios in just one day.
This self-titled Michigan Rattlers EP attracted glowing reviews from No Depression, Bluegrass Situation, B3 Science, and Rolling Stone, who named the band one of their âTen New Country Artists You Need To Knowâ in 2016.
In 2018, following a massive summer tour that included stops at Bonnaroo, Firefly and Electric Forest; the band released their highly anticipated debut full length album, 'Evergreen,' on September 28th. "This is a band with solid songwriting chops and instrumental skills," says No Depression. "'Evergreen' shows this three-piece from Petoskey, Michigan making a stand, making their way."
Neck Deep Tour 2021 with Special Guests Boston Manor, Zero 9:36, Heart Attack Man, Oxymorrons - Presented by Opus One & PromoWest North Shore (rescheduled from November 29, 2020)
Joe Grushecky's music has stood the test of time. For 30 years publications such as Billboard, Rolling Stone, Village Voice, No Depression, and countless others have hailed him as one of rock & roll's most talented singer-songwriters.
In 1979 Rolling Stone magazine crowned his band's, the Iron City Houserockers, first album Love's So Tough the "debut record of the year." Acclaimed rock writer Jimmy Guterman, named their second album, Have a Good Time (But Get Out Alive) as one of the 100 Best Rock & Roll Records of all time! Legendary guitarist and Rock Hall of Famer Steve Cropper produced Blood on the Bricks. Rock superstar and Hall of Famer, Bruce Springsteen, produced American Babylon in 1995 and continues to perform with the band and write with Joe including the Grammy winning Code of Silence.
We're Not Dead Yet, Live in Pittsburgh, Joeâs 14th LP, carries on his tradition of delivering honest and passionate music. This is what Blurt Magazine has to say about the band's live performances. "Grushecky and the Houserockers performed like they thought they were damn rock stars and, on that night, they were indeed the greatest rock 'n' roll outfit on the planet"
In a world where truth is rare and nothing seems genuine anymore, some things remains constantâ¦there is still real music being made out there. And Joe Grushecky is still making it.
91.3fm WYEP Presents William Elliott Whitmore with Special Guest Walter DeBarr
A man armed only with a banjo and a bass drum can be a formidable force, especially if his name is William Elliott Whitmore. With his powerful voice and honest approach, Whitmore comes from the land, growing up on a family farm in Lee County, Iowa. Still living on the same farm today, Whitmore has truly taken the time to discover where his center lies, and from that he will not be moved.
Whitmore has repeatedly carved his own path, honoring the longstanding tradition of folk music throughout his nearly 20 year career, while always allowing his blues, soul and punk rock influences to shine through. Getting his first break opening for his friendâs hardcore band with just a banjo in hand, he would discover bands like The Jesus Lizard, Bad Brains, Lungfish and Minutemen and soon learn to play his own brand of rural, roots music with that same DIY ethic.
William Elliott Whitmore has been back and forth across the United States and to cities around the world. Heâs toured with such diverse acts as Frank Turner, Trampled By Turtles, Clutch and Chris Cornell to name a few. Heâs appeared on some of the biggest stages around the world including Stagecoach Fest, Byron Bluesfest (Australia) and End of the Road Fest (UK). His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance.
Caroline Polachek - Heart is Unbreaking Tour with Special Guest Oklou
Charlie Parr is an incorruptible outsider who writes novelistic, multi-layered stories that shine a kaleidoscopic light on defiant, unseen characters thriving in the shadows all around us. He hasnât moved to LA or Nashville; heâs stayed in the cold grey north of Minnesota, because thatâs his home. Charlie makes his Smithsonian Folkways Recordings debut with âLast of The Better Days Aheadâ, out worldwide July 30, 2021.
Dead Horses isnât a band in the conventional sense. Rather, itâs an intimate, folk-inspired conversation between two close friends. At its core, the participants are guitarist/singer Sarah Vos and bassist Daniel Wolff. The Milwaukee, Wisconsin-based pairâs dialogue continues with an eclectic five-song EP, Birds (released February 7), which includes the band's previously released singles "Family Tapes," "Mighty Storm," and "Birds Can Write The Chorus."
Dead Horses weave together a vibrant patchwork of classic and contemporary influences that span trad roots, indie- folk, and other experimental musical idioms. Through it all, the union of Sarahâs emotive songwriting with Danâs intrepid bass playing transcends the singer-songwriter-with-backup-musicians paradigm.
To date, Dead Horses has released three studio albums, an Audiotree Live Session, three singles, and a two-song EP. Along the way, the duo has charted on the Americana Top 50 radio charts, accrued over 20 million spins on Spotify, and earned placements on several Spotify, Amazon and Apple Music âAmericanaâ playlists. A Rolling Stone âArtist You Should Know,â Dead Horses has received profiles from Billboard to Noisey, and have toured extensively, including appearances at Red Rocks Amphitheater and an invitation to open for legendary UK rockers The Who.
Annie Hart is a New York City-based composer, songwriter, and performer. She came to renown in the early 2000âs as a member of synth trio Au Revoir Simone, a favorite of director David Lynch, who featured the band in several episodes of Twin Peaks: The Return. Since the groupâs hiatus, Annie has released two solo albums of âsumptuous synth-popâ (Vogue) that explore the fringes of new wave, minimalism and ambient. Hartâs reputation as a unique master of composition for analog synthesizers has led her to compose the score for two feature films released in 2020: Olympic Dreams (IFC), starring Nick Kroll and Alexi Pappas, and Banana Split (Universal), featuring Dylan Sprouse and Hannah Marks. Her new work for 2021 is Everything Pale Blue, an ambient album released on Orindal Records that is "both meandering and meditative, with Hart crafting a whole new world of her own through the gently lapping synthesizer explorations that absorb the listenerâ (Gold Flake Paint).
On this special tour, Annie will be touring her favorite small, selected spaces and projecting visuals to create a dreamy atmosphere as a backdrop for her new ambient works performed on a carefully curated set of vintage synthesizers. As the set progresses, sheâll add in old favorites from earlier albums and bring her bandmate Jane Herships (Spider) to sing and play multiple instruments. This is a rare chance to experience beautiful soundscapes in an intimate atmosphere filled with community ties and a warm, comforting energy. The shows include an opening set from Pains of Being Pure At Heartâs Kip Berman performing a lush solo set on electric guitar as The Natvral.
Over the last decade, New England native Stephen Kellogg has performed more than 1500 concerts around the world, raised thousands of dollars for causes close to his heart, been named Armed Forces Entertainer of the Year, and penned singles for artists like platinum selling rock band O.A.R and American Idol winner Nick Fradiani. Stephenâs most recent writing work with legendary guitarist Robert Randolph, led to a 2017 Grammy nomination for "Best Contemporary Blues Record." He's also had his songs covered by international major label acts and released ten studio albums of his own yielding hundreds of thousands of ticket and record sales.
A father of four and married to his high school sweetheart, filmmaker Peter Harding was so moved by the everyman nature of Kellogg's story that he made a documentary called "Last Man Standing" which went on to become an Amazon exclusive film. In recent years, Kellogg has added authorship and speaking to his resume as well. He delivered a TEDx Talk on job satisfaction, the key note speech for the prestigious photography summit WRKSHP, and was invited to speak to the students at Columbine High School in Littleton, CO on the topics of social justice and 'finding your voice.â He has appeared as a contributing author in several publications and in 2019, will be publishing his first full length book entitled âObjects in the Mirror: A Storytellerâs Take On What Matters Most.â
Kelloggâs newest studio album, âObjects in the Mirrorâ, was recorded over the course of a single week in Nashville, TN. Produced by Will Hoge and featuring twelve songs that explore American life in 2018, the decision was made to track the band live, keeping the results in tact with minimal overdubs. âI wanted to make an album that sounded and felt like the ones I grew up loving; Bob Seger and Cat Stevens, Tom Petty and Rod Stewart. Emotional records where the songs relate to each other and the lyrics are front and center. Thatâs my true north.â Kelloggâs emotion has never been in question with one music blogger succinctly describing his music as âa beautiful display ofâwell, his heart.â And as for the lyrics, Counting Crows frontman Adam Duritz can lately be heard singing their praises on his âUnderwater Sunshineâ podcasts.
While Stephen Kellogg may have remained underneath the radar for some in the mainstream, he has succeeded in building a meaningful career alongside many of the best in the business. Heâs sung duets with Sara Bareilles, Josh Ritter, Rosanne Cash, and Pat Monahan of Train and participated in the 2018 âGarden Of Dreamsâ concert at the Beacon Theater. His music has found its way onto the Billboard charts and been featured in numerous films and TV shows. Whether performing solo or with a band, Kelloggâs soul and energy fuel one of the most dynamic shows anywhere. âWith beautifully written songs and an engaging personalityâ, The Michigan Daily reports, âKellogg appears as if he was born on stage, taking the spotlight and using it to his advantage, but never letting go of his connection with the audience.â A master storyteller in his prime, he will spend much of 2019 where heâs always been at homeâ¦the road.
MisterWives with Special Guest Frances Forever - Presented by Opus One & PromoWest North Shore
This show has been rescheduled from July 12, 2020 and February 10, 2021 - All Tickets honored.
Dar Williams has always followed her muse. When she was up in Somerville, Massachusetts in the early nineties, knowing that she wanted to pursue music or theater, she worked backstage at the Opera Company of Boston and wrote plays on the side. But she was in Boston, and the muse led her into the myriad open mics and tip jar gigs of booming folk revival. She opened a trunk of old songs and started writing new ones.
She went to three or four open mics or song circles a week and recorded two cassettes. Yes, cassettes. When she felt like the noise of Boston was getting to be too much, the muse led her to the cornfields and college towns of Western Massachusetts where she sat on her futon and wrote the songs that would become The Honesty Room, her first CD, which she recorded in the basements and back woods studios of Amherst. She hoped the songs she was writing, with titles like When I Was a Boy, Youâre Aging Well, and The Great Unknown, would lead her into an idiosyncratic part-time music career.
Little did she know that the coffeehouse scene and the beginnings of internet communities were building to a crescendo and eager to receive her warm, witty songs. By the end of 1994, when The Honesty Room came out, she had rock-solid management, the best booking agency in the country for singer-songwriters, and a career-making slot at the Newport Folk Festival. She also signed with Razor & Tie records and penned the material for her next album, Mortal City.
The mid-nineties were a heady time, and Dar did her best to keep up with an exciting mix of concerts in forty plus states, Canadian festivals, and her first British dates. With the release of Mortal City came an invitation to play throughout Europe and the United States with new friend and folk legend, Joan Baez, a tour that changed everything, as Dar was quick to discover by 1997 when she released End of the Summer. She wrote the title track in hotel rooms down the west coast on her tour with Joan. She continued to write about all the eclectic things that inspired her, never questioning the muse. Psychotherapy, veterans with PTSD, and late night radio DJs among other themes.
Booked in large theaters, she went out with her first band on her first tour bus with The End of Summer, playing more colleges and festivals, including Lilith Fair, for which one of her songs became part of the festivalâs gold-selling CD.
Her good friend Richard Shindell joined the official End of the Summer album tour. Somewhere around Portland, Oregon, they decided to make an album that would showcase all the great writing that was happening in their tightknit musical community. They invited Lucy Kaplansky to join them and Cry Cry Cry was born in 1998, with a short tour that kept getting longer, stretching out for over a year and a half. For all three artists, dubbed a Folk Supergroup (not by them), it was both a musical education and huge life adventure.
Dar says, âWe were trying to get this one line for the last chorus of Sweet Sir Galahad that we were going to sing with Joan [Baez]. The bus was careening down the highway from Denver to Aspen, and we spent hours trying to find the perfect notes. We were in heaven. The bus driver was in hell.â
All of this time steeped in the music of her fellow musicians inspired many of the songs for The Green World, Darâs fourth studio album, recorded with seasoned musicians and future bandmates in Woodstock and New York City.
On her return from the ten-week Green World Tour, Dar got a letter from Scholastic books, inviting her to an open-ended lunch discussion about a possible young adult or childrenâs book. Dar said she couldnât imagine it, but the muse said, âJust have lunch.â By the end of the meeting at a Mexican restaurant, where there may or may not have been sangria, Dar was already brainstorming Amalee, a young adult novel about a girl whose fatherâs eccentric friends come forward in all their strange glory when he gets sick. Infused with magical realism and Darâs well-remembered youth, Amalee and the muse took a winding path of creation from 2002-2003.
City living and time spent with the Green World musicians provided the a whole new palette of imagery, and an opportunity to collaborate with Rob Hyman of the Hooters, that became The Beauty of the Rain, released in 2003, her most successful album to date, named People magazineâs album of the week when it came out, and she started her tour with a performance for PBSâs Soundstage. Her song, Closer To Me, written with Hymen, doubled the number of commercial stations that played her music is it went up Billboardâs Heatseekerâs chart, while songs from the whole album were in heavy rotation on Americana stations throughout the United States and Canada.
The following years saw a return of the Green World crew with My Better Self in 2005. While out on tour, Dar edited a sequel, Lights, Camera, Amalee for Scholastic for a 2006 release, which led to a whirlwind two years of concerts, readings, and school visits.
In 2008, Dar headed to Electric Lady studios to record Promised Land. Dar set out with a trio that included keyboardist and jazz composer Bryn Roberts, with whom sheâs been touring ever since.
In 2010, after seven studio albums, Dar released a greatest hits retrospective called Many Great Companions, produced by Gary Louris, with touring companions of the previous fifteen years, including Mary Chapin Carpenter, her best friends Nerissa and Katryna Nields, and Sean and Sara Watkins of Nickel Creek.
It was now that the muse started pointing in some new and unexpected directions. As Dar was writing songs for In the Time of Gods, her eighth album, she was asked to create a college course to teach at her alma mater, Wesleyan University. She toured with In the Time of Gods in the spring of 2012, followed by teaching Music Movements in a Capitalist Democracy in the fall. Teaching a university course was one of the happiest moments of Darâs career. A friend advised her to lead a songwriting retreat. Dar said âI would only lead a retreat if it were called, âWriting a Song That Mattersâ, focused on the process of writing a song, not the industry that brings it to the public.â In 2013, Dar led her first Writing a Song That Matters retreat at The Garrison Institute in the Hudson Valley of New York. It was another highlight of Darâs life and career. The next year, she added another retreat at the Omega Institute in Rhinebeck, New York. All the while, as Dar wrote songs for the album Emerald and prepared 20th anniversary tours for both The Honesty Room and Mortal City, the mists were swirling for a project that was both a departure and arrival point\in her career.
In the decades that Dar had been touring, she had been seeing how towns and cities, like people, had been coming into their own, becoming more resilient, unique, and prosperous. While so many people said that towns and cities were âdeadâ, she had been seeing them come back to life. She realized that the key ingredient in the success of these places was what she called âPositive Proximityâ, where there was an understanding that living side by side with other people was a good, constructive thing. Positive proximity was a civic state of being that could be built and sustained, and Dar was collecting stories and notes to support her growing theory. She said, âSomeone should write a book about this.â And the muse said, âYouâve written fiction books, you interviewed people for your green blog at Huffington Post, youâve written about towns and cities in your songs since day one. The person who should write this book is you.â
In the spring of 2015, just before setting out on the tour for her ninth studio album, Emerald, Dar signed a contract with Basic Books, now Hachette Publishing Group. In September, 2017, she started touring new venues, speaking in bookstores and at city planning conferences in support of her book, What I Found in a Thousand Towns, a Touring Musicians Guide to Rebuilding American Communities One Dog Run, .... At A Time. 2018 was a time to deepen her connection to these themes of town and city building and planning as Dar gave keynote speeches at the Boise Downtown Association, the Vermont ..., the Southern New England Planning Association conference, and the Congress of New Urbanism, among others. It was also the year for a very emotional and exciting reunion of Cry, Cry, Cry, where the trio returned to sing songs by newer songwriters. Dar still loves every minute of her job and always advises folks to âfollow their muse.â She still goes wherever the muse leads her, which, presently, is right back on her couch, coffee on the coffee table, guitar in hand, writing her next batch of songs.
The Glorious Sons with Special Guest Brother Elsey - Presented by 105.9 The X, Opus One & PromoWest North Shore
By most fifth LPs, the bandâs sound is pretty set. Parameters established. Refinement dissipated. You get a to-formula execution of whatâs worked in the past. Fair enough. All Them Witches go a harder route.
In 2017, the Nashville four-piece offered what mightâve otherwise become their own template in their fourth album (second for New West), Sleeping Through the War. It brought a larger production value thanks to oversight from producer Dave Cobb (Jason Isbell, Shooter Jennings, etc.), found them using choral vocals, expanded arrangements, bigger sounds than anything theyâd done before.
They couldâve easily fallen into a pattern of watered-down clones of that record. Easily.
So naturally in a year theyâve thrown it all to the Appalachian wind, turned the process completely on its head and gone the other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Self-produced. Take that, expectation.
The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witchesâ ATW isnât self-titled by mistake.
Itâs the band confirming and continuing to develop their approach, in the devilâs boogie of âFishbelly 86 Onions,â the organ-laced groove and masterful flow of âHalf-Tongue,â the build of âHJTCâ and the fluid jam in closer âRobâs Dream.â You can hear it in the mellow patience of that last track, never lost but always wandering, and in â1st vs. 2nd,â where they turn from a frenetic shake to some purposefully metal-ish riffing while still holding onto gut-tightening tension.
And what do they do with that? Some overblown payoff? Hell no. They cut it short, drift into noise and then dig into âHalf-Tongueâ ahead of the moodier âDiamond,â which, true to its name, seems to turn any light that touches it into a prism. This is a band who delight in the exploration, in finding new rules to break, and in continually learning new ways to do so.
ATW is a reaction to being a âbiggerâ act. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parksâ vocals, to the sleek basslines that play off the canât-sit-still-wonât-sit-still swing in Staeblerâs drums, to McLeodâs commanding slide in âWorkhorseâ and drifting melancholy at the outset of âHarvest Feast,â ATW is their laying claim to the essential facets of their identity.
And most crucial to that identity is its shifting nature. All Them Witches didnât get to this point by resting on laurels, and if anything, the urgency of these tracks â fast pushers and sleepy jams alike â is among their greatest strengths.
Itâs a rawer delivery, as stage-ready as the band itself, and it captures All Them Witches in this moment. Is ATW who theyâll be tomorrow? Who the hell knows? Check back in and weâll find out together. Thatâs the whole idea.