ALBUM REVIEW: Azimuth – Elk Witch
Situated in the remains of ancient volcanic flow areas, at the middle ford of Bear Creek surrounded by mountains, lies the small city of Medford, Oregon. At this cross point where heaven and Earth collide, nature flourishes and deep within it lives the heavy psych trio ELK WITCH. Formed in 2019, Deven Andersen (guitar, vocals), Darren Wostenberg (bass), and Joe Coitus (drums) combine classic psych rock and progressive doom to create luscious psychedelic atmospheres and hard-hitting bluesy riffs. Drawing comparisons to the legendary BLACK SABBATH alongside THE SWORD and THE OBSESSED, the band pride themselves on their vintage sound.
ELK WITCH unveiled their stunning debut EP The Mountain in 2020; that laid the foundations for their equally captivating and magical debut album Beyond The Mountain which was released in 2022, and now the trio return with their sophomore album Azimuth. It channels all the vibes of nature and the environment around them, yet unlike its predecessor it goes beyond the magic of the natural realm and delves deep into personal experiences by exploring the past and the future of existence. Hypnotic and thought-provoking, Azimuth is an introspective album that immerses you in the Oregon landscape.
ELK WITCH have always had an earthy sound, imbued with the vintage sounds of 1970s rock and the more punchy writing of 1990s metal. Alongside this, they have always managed to work ethereal atmospheres and soaring guitar melodies into their gut-punching, grungy riffing. On occasion it feels like there are more than three of them in the band, such is the scope and power of their wall of sound. Azimuth has multiple layers of fuzz and reverb to contend with; with each listen through you unearth something new.
There is a small movement in stoner and heavy psych scenes at the moment where grungier, 1990s elements are brought into the traditionally BLACK SABBATH riffing structure. Azimuth is a prime example of this, as for the most part it could slot in next to those late 1990s/early 2000s metal albums and stand its ground. In some parts of this album ELK WITCH sound like a less frantic MASTODON, and in others like ACID KING, and it’s a truly intriguing album to delve into when you look deeper into it.
For the most part, Azimuth is a product of its isolated environment. There is an inherent melancholy that runs through this album and you can feel yourself being transported to the high desert in Eastern Oregon – a land of isolation and sparsity. As a result, the album allows you to delve deep into your own perspectives and reflect on a multitude of things as the fuzz and guitar melodies wash over you. ELK WITCH have made a concerted effort to truly capture their homeland within their music, and they have managed to achieve it magnificently. Your imagination conjures up imagery of journeys through nature; whether it be a desert, a woodland or a beach, the album’s expansive nature consumes you and takes you out of reality for 40 minutes.
Opening up with Dead Silence, you get the vibe of this album almost instantly: chunky riffs, ample bass grooves and dynamic drum beats. The classic retro riffing kicks in in full force on this track, setting you up nicely for the album’s title track. Azimuth perfectly demonstrates the feel that ELK WITCH wanted the album to have. Deep, earthy bass supports chugged, droned and picked guitar chords to build elegant and dynamic atmospheres as you envisage the high desert in Eastern Oregon. Liminal Space is a short and lusciously reversed psychedelic interlude that leads into the thunderous Empyrean. Here, ELK WITCH throw caution to the wind and go hell for leather with an all-out stoner rock track imbued with grungy 1990s undertones.
Vortex is a track that’s kind of an interlude but more of a transitional track halfway through the album. It starts off with a spacey and sparse intro before building into this cacophony of riffs and pounding drums. Universe 25 carries this on and ups the tempo, a barrage or riffs and bass come flying at you as if the band have unleashed the power of a mighty river or are attempting to shake the roots of the mountains around them. Ghosts Of The Lupatia is a much more sombre track; slowing the tempo and reducing the ferocity of the chugged riffs, it feels more thought-provoking as Andersen’s vocals seem to come from beyond the veil. Closing with the grooving Goddess Of Winter, ELK WITCH finish the album on a ponderous and melancholic tone.
Azimuth is a strong and intriguing album that captures your imagination. ELK WITCH had a clear goal in mind when creating this album and it shows; capturing the magic of the environment around them, they take the listener on a sonic journey through the landscapes of Oregon.
Rating: 8/10
Azimuth is set for release on April 12th via Majestic Mountain Records.
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