Date: March 14, 2019 to March 14, 2019
Where: The Grog Shop, 2785 Euclid Heights Boulevard, Cleveland, Ohio, United States, 44106
Phone: N/A
Event Type: Concerts & Music
Ticket Price: N/A
with Plague Vendor
By most fifth LPs, the bands sound is pretty set. Parameters established. Refinement dissipated. You get a to-formula execution of whats worked in the past. Fair enough. All Them Witches go a harder route.In 2017, the Nashville four-piece offered what mightve 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 theyd done before.They couldve easily fallen into a pattern of watered-down clones of that record. Easily.So naturally in a year theyve 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 Witches ATW isnt self-titled by mistake.Its the band confirming and continuing to develop their approach, in the devils boogie of Fishbelly 86 Onions, the organ-laced groove and masterful flow of Half-Tongue, the build of HJTC and the fluid jam in closer Robs Dream. You can hear it in the mellow patience of that last track, never lost but always wandering, and in 1st vs. 2nd, 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 Half-Tongue
By most fifth LPs, the bands sound is pretty set. Parameters established. Refinement dissipated. You get a to-formula execution of whats worked in the past. Fair enough. All Them Witches go a harder route.In 2017, the Nashville four-piece offered what mightve 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 theyd done before.They couldve easily fallen into a pattern of watered-down clones of that record. Easily.So naturally in a year theyve 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 Witches ATW isnt self-titled by mistake.Its the band confirming and continuing to develop their approach, in the devils boogie of Fishbelly 86 Onions, the organ-laced groove and masterful flow of Half-Tongue, the build of HJTC and the fluid jam in closer Robs Dream. You can hear it in the mellow patience of that last track, never lost but always wandering, and in 1st vs. 2nd, 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 Half-Tongue