The 1970s was a decade marked by significant social and cultural changes around the world. It was also a time when the music industry experienced a shift towards more experimental and diverse genres. One of the notable trends of the 1970s music scene was the embrace of occult themes by female artists. Several influential women musicians during this period incorporated elements of the occult in their music and image, which challenged traditional notions of femininity and garnered both fascination and controversy. One of the most iconic figures of 1970s music with an occult twist was Stevie Nicks, the lead vocalist of the rock band Fleetwood Mac. Known for her ethereal voice and unique style, Nicks often drew inspiration from mystical and supernatural themes in her lyrics.
Known for her ethereal voice and unique style, Nicks often drew inspiration from mystical and supernatural themes in her lyrics. Her song "Rhiannon" captivated audiences with its haunting melodies and lyrics that spoke of a Welsh witch goddess. Nicks' enchanting stage presence and flowing black dresses added to her mystical allure, making her an emblematic figure of the 1970s occult woman in music.
Unquiet
Things
In 1969, Coven combined psychedelic rock with black magic and rose from the darkness of Chicago to pollute the minds of impressionable youth and panic puritanical sensibilities with their debut album, Witchcraft Destroys Minds and Reaps Souls–which included such songs as “The White Witch of Rose Hall” (based on the story of Annie Palmer), “For Unlawful Carnal Knowledge,” and “Dignitaries of Hell.” The album concluded with a 13-minute track of chanting and Satanic prayers called “Satanic Mass.”
Led by the dark, feminine energies of Indiana native Jinx Dawson, who studied both opera and the occult in the late 1960s, each Coven concert began and ended with the sign of the horns, and the band was among the first to introduce this hand sign into rock pop culture.
According to Jinx, “The Satanic thing actually was something we were interested in and were studying at the time. When you’re younger, you’re looking for answers.”
Thanks to these pioneers of pagan soundscapes and occult rock evangelism, nearly 50 years later the “sonic iconography of the fantastic and satanic” still resonates; wicked women rock-n-rollers traversing the left-hand path continue the tradition of seeking, questioning, and thrilling audiences with their bewitching aural spells and diabolical anthems.
JEX THOTH
Jex Thoth, a trippy, hypnotic quintet named somewhat after the lead singer, Jessica Toth, calls their music “alchemical doom.” Their sound–a primal blend of swirling psychedelic rock and slow-burning, bygone vibes elevated by Jex’s sweet, soaring vocals–is undeniably transformative.
BLOOD CEREMONY
Mesmerizing mistress of ceremonies and front woman Alia O’Brien of Blood Ceremony notes that this “flute-tinged witch rock” band is “inspired by pockets of knowledge that exist outside of the realm of the mainstream.” Do tales of witch-cult gatherings in wooded glens and pacts made in torch-lit abbeys, accompanied by vintage-style hard rock riffs get your blood up? If the answer’s yes, you’re going to love Blood Ceremony.
PURSON
Purson, whose name has origins in demonology (a king of Hell who hooks you up with sweet treasures and who “brings good familiars”) is headed by front woman Rosalie Cunningham, who describes their sound as “vaudeville carny psych.” A cross between dusty ‘60s folk and ’70s heavy metal with a soupçon of classic prog influences, Purson brings their own eerie, whimsical aura into the mix and creates a listening experience that is giddy and intriguing and well, fun.
JESS AND THE ANCIENT ONES
Finland’s Jess and the Ancient Ones is equal parts acid rock and lo-fi ’70s metal interwoven with jazz, blues, and surf-rock–musically, I guess they sound all over the map, but their witchy lyrics are rooted in the exploration of magical realms beyond the mundane. That along with their memorable melodies and Jess’s passionate Grace Slick-esque vocals pull it all together for a very compelling, occult-flavored listen.
LUCIFER
Berlin-based heavy metal/doom blues manifestation Lucifer has all the retro vibes and Gothic atmosphere of its traditional classic occult rock roots. They could indulge in tired cliches or result in cartoony pastiche, but vocalist Johanna Sadonis’ (formerly of the short lived but much loved The Oath) tempestuous, intoxicating vocals weave a sultry, menacing spell that achieves a somber, sincere atmosphere of dark, tender delight.
(This article was originally posted at Dirge; the site is no longer active.)
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Have you ever noticed that there seems to be quite an abundance of songs from the late 1960s to early 1970s mentioning witches? As I was putting together a little playlist to help get me in a spooky/fall mood, I realized that many of the songs I added to the playlist regarding witches happened to be from that era. As I started to look into it more, it turns out that there is certainly a reason for it.
Another influential figure of this era was Kate Bush, a British singer-songwriter who became known for her unconventional music and mythical storytelling. Bush's 1978 album "The Kick Inside" featured the hit song "Wuthering Heights," inspired by Emily Bronte's novel. The song's whimsical and otherworldly atmosphere, enhanced by Bush's high-pitched vocals and expressive dance moves, exhibited her connection to the pagan and eccentric themes of the 1970s. Bush's unique blend of music, dance, and storytelling established her as a trailblazer in the realm of occult-inspired female musicians. In addition to Nicks and Bush, other female artists like Stevie Marriot of the band Humble Pie and Sandy Denny of Fairport Convention also embraced occult influences in their work. The 1970s music occult woman movement allowed women to explore spirituality, mysticism, and alternative forms of femininity, shaping the music industry and paving the way for future generations of artists to challenge societal norms. Overall, the 1970s music scene witnessed a significant shift towards occult themes, with female artists at the forefront of this movement. Figures like Stevie Nicks and Kate Bush showed that music could be a powerful tool for self-expression and experimentation, as they intertwined mysticism with their music and stage personas. The allure and controversy surrounding these women helped break down barriers and redefine the perception of femininity in the music industry. The legacy of the 1970s music occult woman continues to inspire and influence musicians today, as they navigate their own path towards artistic freedom and self-discovery..
Reviews for "The Coven of Sound: Female Musicians and Their Occult-inspired Collaboration in the 1970s"
1. John - 2 stars
I was really disappointed with "1970s music occult woman." The music was slow and uninteresting, and I couldn't understand a word the woman was singing. The entire album felt like a long, boring meditation session that I couldn't escape from. I was hoping for lively and energetic music from the 1970s, but this just didn't hit the mark for me.
2. Sarah - 1 star
I couldn't stand "1970s music occult woman." The vocals were grating and off-key, and the lyrics made no sense to me. It felt like the artist was trying too hard to be avant-garde and ended up creating a messy and chaotic album. I tried to give it a chance, but after the first few songs, I had to turn it off. Definitely not my cup of tea.
3. David - 2 stars
"1970s music occult woman" just didn't click with me. I found the instrumentation repetitive and uninspired, and the overall sound was lackluster. The album failed to captivate my attention and left me feeling bored and uninterested. I was expecting more from a 1970s music-inspired album, but unfortunately, this one fell flat for me.