Home Depot, a leading home improvement retailer, has recently come under fire for selling a giant witch decoration that some argue promotes negative stereotypes of witches. The giant witch decoration stands at an impressive height of 12 feet and is marketed as a spooky addition to Halloween home decor. Critics of the giant witch decoration argue that it perpetuates harmful stereotypes associated with witches, such as being evil, ugly, and associated with dark magic. They argue that this type of decoration reinforces negative beliefs and stereotypes about witches, which can be harmful, especially to young children who may not understand the true history and significance of witches. On the other hand, supporters of the giant witch decoration argue that it is simply a fun and festive way to celebrate Halloween. They argue that Halloween is a time for costumes, decorations, and embracing the spooky and supernatural elements associated with the holiday.

Satanic Witch. 4.44 (Album Review)

Back in the old days when record shops weren’t shrouded in neon, you would venture downstairs into a darkened musty basement past the walls plastered in flyers and peruse the racks looking for gold. You would find an album from a band you have never heard of, yet you are drawn to it inexplicably, from its cover or idea or … something. You take it home and play it in the evening when the atmosphere is best, and it would blow you away. Completely and utterly 4.44 by Satanic Witch is such an album.

4.44 conjures images of musicians making pacts over candles, their mystery only adding to the allure and romanticism. The uninhibited freedom and the deft hand in which they create their music surprise you and make you wonder why you have never heard of them before. In Satanic Witches cases 4.44 is their debut album and it is a combination of sixties, and seventies experimentalism, combined with black metal, post flourishes and beautiful melodies that is rich textured and organic.

It is dark and authentically so; it is the lack of pretension that makes the covenant between artist and listener intimate and expressive. Each track is a lengthy naturally occurring exploration of the ritual. From the duality of the incredible ‘’Mirage/Die Hexen’’, to the blasting black metal indulgence that is ‘’For None’’. The riffs are majestic, free flowing and incredibly heavy, yet it is also full of haunting darkness. ‘’So below’ is the hypnotic nightmare created from the simplest of melodies and the whispered vocals. The beautifully sung melodies are the tautology to the darkness, each creation unique and a testament to the creators Shaun Van Calster (Length of Time), Michel Kirby (Wolvennest), Isa and Selina (E-L-R), that Satanic Witch is such a pleasure whilst being shrouded in secrecy and spiritual connections. It is the expression of music and its true power that makes 4.44 a complete experience with moments of greatness.

Elusive inexplicable and alluring 4.44 is a staggering release that combines elegance and darkness to create a musical journey that is genuinely exciting. Combining the greatness of modern with seventies inspired freedom and originality, 4.44 is a masterwork.

Satanic Witch: Facebook

Release Year: 2023
Label: Ván Records
Category: Album
Country: Belgium/Switzerland

Resonance - Satanic Witch - Demons Of Noon - NightEyes

Back in the old days when record shops weren’t shrouded in neon, you would venture downstairs into a darkened musty basement past the walls plastered in flyers and peruse the racks looking for gold. You would find an album from a band you have never heard of, yet you are drawn to it inexplicably, from its cover or idea or … something. You take it home and play it in the evening when the atmosphere is best, and it would blow you away. Completely and utterly 4.44 by Satanic Witch is such an album.

4.44 conjures images of musicians making pacts over candles, their mystery only adding to the allure and romanticism. The uninhibited freedom and the deft hand in which they create their music surprise you and make you wonder why you have never heard of them before. In Satanic Witches cases 4.44 is their debut album and it is a combination of sixties, and seventies experimentalism, combined with black metal, post flourishes and beautiful melodies that is rich textured and organic.

It is dark and authentically so; it is the lack of pretension that makes the covenant between artist and listener intimate and expressive. Each track is a lengthy naturally occurring exploration of the ritual. From the duality of the incredible ‘’Mirage/Die Hexen’’, to the blasting black metal indulgence that is ‘’For None’’. The riffs are majestic, free flowing and incredibly heavy, yet it is also full of haunting darkness. ‘’So below’ is the hypnotic nightmare created from the simplest of melodies and the whispered vocals. The beautifully sung melodies are the tautology to the darkness, each creation unique and a testament to the creators Shaun Van Calster (Length of Time), Michel Kirby (Wolvennest), Isa and Selina (E-L-R), that Satanic Witch is such a pleasure whilst being shrouded in secrecy and spiritual connections. It is the expression of music and its true power that makes 4.44 a complete experience with moments of greatness.

Elusive inexplicable and alluring 4.44 is a staggering release that combines elegance and darkness to create a musical journey that is genuinely exciting. Combining the greatness of modern with seventies inspired freedom and originality, 4.44 is a masterwork.

Mountain Witch – Extinct Cults Review

A band’s swan song can often be a masterpiece, an emotional rollercoaster, or a dud. When a band knows they’re calling it quits for a while, most often they will pour their hearts into that final album. That’s what I hoped for when I grabbed Extinct Cults, the latest (and last, prior to what is described as a long hiatus) from German proto-rockers Mountain Witch. The duo of Rene and Rene (Roggmann and Sitte) adhere to old-school recording and production aesthetics, and add plenty of mid-70s hard rock vibes to the underlying Black Sabbath themes. On their final outing, they promise to leave it all on the floor and deliver a multifaceted masterpiece. On paper, this should be great.

For one last kick at the can, Extinct Cults is remarkably succinct. The six songs here are over and done with in little more than half an hour, and all have a very hurried feel to them, as if Rene and Rene simply wanted to get things over with. This stems in no small part from the deliberately shoddy production, which features poor drum sounds and reverb-laden, at times slightly off-key vocals. “Capping Day” provides ponderous Sabbathian riffs and echoing vocals and is overly simplistic, sounding like it was recording live in one take. 1 It is an unremarkable opener, but “Back from the Grave” is a completely different beast, with a rollicking melody and plenty of 70s keyboards. Sadly, it’s about two minutes too long.

“Worship You” is obviously the song where the boys worship Black Sabbath, with riffs lovingly lifted nearly straight from the annals of history. Unfortunately, the amateur approach to getting this on tape strips the song of any charm it might otherwise have. “Man is Wolf to Man” might be the most enticing track, simple and straightforward, albeit with a somewhat generic riff, and there’s no fat to trim on this up-tempo cut. This immediacy lends the song charm that Mountain Witch mostly fail to reach on the other songs.

Extinct Cults is a promising album rife with issues. I’ve already touched on them, but listening to these songs over and over this month only exacerbates the problems. I’m all for the retro approach, but one can pull it off and still sound great. When an album sounds almost like it’s been recorded in a room with two mics, it distracts from the potential of the songs. The same goes for lack of production or refinement in the vocal approach. Mountain Witch’s vocals sound more like they are pulled from live bootleg recordings. And to top it off, half the songs stretch well over six minutes, but are so simple in nature that they cannot maintain momentum for anywhere more than four minutes. This all adds up to a record that was probably a lot more fun to record than it was to listen to. The mid-70s classic rock flair the band tries to add to their basic proto-doom foundation is well-intentioned, but delivers more a sense of regret that Mountain Witch couldn’t fully deliver.

While I hoped for a gem of a record here, Mountain Witch have failed to deliver. Despite the promise to “do it properly,” the band have given us half a dozen songs that sound more like a high school band project. The songwriting isn’t the problem; rather, the performances and production can’t live up to the quality of the material. There are tunes here that, if done up right, could be stellar, but the DIY, ultra-old school approach lets the band down. I wish the boys better luck in their future endeavors.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: This Charming Man Records
Websites: mountainwitch.bandcamp.com |
facebook.com/mountainwitch
Releases Worldwide: May 29th, 2020

1. It probably was; all the songs sound this way. ↩

They argue that Halloween is a time for costumes, decorations, and embracing the spooky and supernatural elements associated with the holiday. They see the giant witch decoration as just another Halloween prop, similar to skeletons, spiders, and ghosts, that adds excitement and visual interest to their homes during the season. Home Depot has responded to the criticism by stating that they understand and respect the concerns raised, but they also believe in offering a wide range of options to meet the diverse needs and preferences of their customers.

They argue that not all customers will interpret the giant witch decoration in the same way and that it ultimately comes down to individual interpretation and personal choice. In conclusion, the controversy surrounding the giant witch decoration at Home Depot highlights the ongoing debate over the portrayal of witches and other supernatural figures in popular culture. While some argue that such decorations perpetuate harmful stereotypes, others see them as harmless and fun additions to Halloween decor. Ultimately, the interpretation of the giant witch decoration and its impact on society will vary from person to person..

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