Burning Witch

Burning Witch was a doom metal band from Seattle, WA, formed in 1995 by Stephen O'Malley (guitar), Greg Anderson (guitar), Edgy 59 (vocals), Jamie Sykes (drums) and G. Stuart Dahlquist (bass). O'Malley, Sykes, and Anderson had all previously been members of Thorr's Hammer. Anderson departed early on when he moved to Los Angeles and formed Goatsnake. The band recorded their first 12" EP, "Towers..." in 1996, although it would not see formal release until 1998. Afterwards, Sykes was replaced by B.R.A.D., who appeared on the the "Rift.Canyon.Dreams" 12 EP", also released in 1998. The band split afterwards when Edgy 59 quit to join another group. Greg Anderson's Southern Lord Records would release the 2 EPs on CD in 1998 as the "Crippled Lucifer" compilation (an expanded version of "Crippled Lucifer" was issued in 2008 and contain extra tracks).

Following Burning Witch's split, Anderson and O'Malley formed Sunn O))), Teeth Of Lions Rule The Divine, and Pentemple and also appear separately in a number of different acts. Dahlquist appeared on recordings by Sunn O))) and Goatsnake and also formed Asva with B.R.A.D.

Burning Witch Discography Tracks


Burning Witch - Towers... album art Burning Witch Towers... (Album) Slap A Ham Records US 1998 Sell This Version
M.R. 93 Burning Witch - Rift.Canyon.Dreams album art Burning Witch Rift.Canyon.Dreams(LP) Merciless Records M.R. 93 Germany 1998 Sell This Version
Burning Witch - Goatsnake / Burning Witch album art Goatsnake / Burning Witch Goatsnake / Burning Witch - Goatsnake / Burning Witch (MiniAlbum) Hydra Head Records US 2000 Sell This Version
DF-001 Burning Witch - Caprichos 1-80 / Rift Canyon Dreams album art Asva / Burning Witch Asva / Burning Witch - Caprichos 1-80 / Rift Canyon Dreams(LP, Ltd, Num, Pic) Dos Fatales DF-001 US 2004 Sell This Version
sunn2.5 Burning Witch - 1996 Demo & Live album art Burning Witch 1996 Demo & Live(6xFile, MP3) Southern Lord sunn2.5 US 2008


Burning Witch - Crippled Lucifer (Seven Psalms For Our Lord Of Light) album art Burning Witch Crippled Lucifer (Seven Psalms For Our Lord Of Light) (Comp, Album) Southern Lord UK 1998 Sell This Version

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August 25, 2013
edited over 5 years ago
You already know this is good. I'm just gargling with leaden mouthwash 'BOUT the reproduction methods ov three-mile-high sequoiadendron giganteum totems rough hewn with pacifically-northwestern united statesian axes ov sharp heavy flinted blades cradled in handles of smooth white man's bone, as these monstrous edifices plummet pregnant with massivness, the immediate environment braces itself, steeles itself in apprehensiv anticipation of an imminent impakt most fearsome.
The sheer magnitude of simulated WEIGHT compensates for --and is anodyne to-- the pain ov inhabiting (of being incarcerated by) a sarcoplasmic chimera in denim whose paint-spattered steel-toed workboots stand planted on a dumpster-derived shag carpet thirsty for dried vomit.
Penultimately it is the consequence of GOOD SONGWRITING, that necessitates a spine for musical art's corpus, the upstart Attribute (songwriting) that is somehow musically integral and yet extramusically-sourced, one that no instrumental proficiency can trump, the (completely natural/unlearnable) ability to make words and music GO WITH each other, fused from the get-go, comin' out like that direct from the play-doh fun factory's pressure-pump toy-anus and into your lovin' arms so smitten by every effortless couplet's kiss.
Mr 59's vocals are perfect, (acid rock is hard rock --if you think the sung parts ar "emo" or [COUGH] "screamo", you're LSD-deficient) bekause in his kapable (trackmark-tormented) hands the dual-mode voicings, whether tonal (SUNG reminiscently of Geddy Lee) or spat as (dirty-junkie's-fingernail-scratched-adam's-apple-exkoriation) BLOOD-KURDLING OD-in-a steam-windowed-van SCREAM-OUT 'til you're gone soul-puke, his applications of technique ar impeccable and truly FELT.
The dvd in their SUPERLATIV box set features a vid of a (Seattle cable access?) WITCH performance and y'all'll RESPEKT the sublime ratio of RESTRAINT AND FORCE that is MAINTAINED (ENFORCED) by this ROKKSTEADY and admirably obstinate foursome, the flanneled horsemen of the mexican tar/bongload apocalypse, B.R.A.D.'s drum konfiguration suffering as sure-fisted and unwincing a BASH as you've probably ever had to weather, like redwood stumps under the monstrous sullen ferns ov Dahlquist and O'Malley's selflessly synchronized behemoth-lowering electric-string-tug-of-war, BEING THE CONSUMMATE ONOMATOPOEIA of this style's epnonymous syllable, each distinct NOTE reminding us that said eponym is not only a feeling, a FATE, but, indeed, most literally a (onomatopoetic) "D.O.O.M.!!!"
Taking the notion that something that is to be FELT (musical sentiment) should be LITERALLY FELT (tactile) and what's worse, taking this notion as literally as is (inhumanly) possible is a PROFOUNDLY GOOD MISTAKE (that implies that intelligence may be overrated and insubordinate to efficacy-of-expression), making THAT RELIABLY PUNKTUAL blunt-faced bass-barrier hook TANGIBLY press outwardly From the SPEAKER CONE to YOUR FACE in a competant and conscious use of playback equipment and one's personal time.
THe WITCH that BURNS for us IS Heavy Metal, but, in a sublime twist, amid a cluttered latter-day minefield of subgenres and microgenres where telescoping specificity-of-style is usually necessary to insulate a band's merit, THE RESOLVE of BURNING WITCH is her remarkable strength in that she coexists as Heavy Metal AND it's containing genre simultaneously, with neither compromised from the dichotomy. Her immolated screams validly meet the broad definition of SIMPLE (new) HARD ROCK, which, in the post-WHITESNAKE era, is a minor fucking miracle.
This band is unrivaled in her native style to the degree that she arguably defines it, sharing the genre's summit with very few others; CANDLEMASS, LAMENTED SOULS, HOODED MENACE, WARNING and maybe even the Finnish quartet they apparently inspired, newcomers BURNING SAVIOUR who "make the grade" that is so exceedingly steep and yet increasingly braved by a growing army ov drop-tune adventurers.
What is different about THE WITCH is perhaps an American quality wherein she is quintessentially DOOM, but the METAL suffix is not compulsory as it is with her European counterparts. Like her fellow compatriots, THE WITCH's DOOM is just as much plain hard rock as it is a genre of metal, like THE MELVINS or NOOTHGRUSH it does not employ formal conventions that limit it to that descriptor, allowing it to coexist in both realms.

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