Trapped in Poundland - Spliff Witchard
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http://spliffwitchard.com/
http://spliffwitchard.bandcamp.com/
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An Anteater’s Diary (The Truth and Not the Lie)
Formed from the ashes of Spliff and Witchard, Spliff Witchard are fast becoming one of the most prolific weed doom bands around. Pioneers, some would say, whereas others regard them as buccaneers (metalireland, DesertRock etc), however, the band themselves simply see their newfound project as a pretty decent weed doom band, bringing important issues to light whilst detailing the life of Manbeard. But this is their story in their own words (in the style of a biography)...
The early years…
Between July 2006 and September 2012, Spliff Witchard was in its primitive, early stages. With no album or even song recorded in their name, there was little to say about them. In fact there wasn’t even a potential name until late August in 2012. That name was Spliff Witchard and it has stuck ever since.
The Legend of Manbeard…
Recording finally got under way in September 2012. Their first album was greeted with mixed reviews, with some hailing it “pretty decent” whilst others regarded it as a failed attempt at humour, with one such review describing it as “distasteful, especially to the bands it has ripped off. It’s shit.” Here, the first period of hardship began within the band, with tensions rising. Despite this dark period and artistic differences, the band was able to record and release their next album…
B-Sides and Other Derailments…
With this album, the band demonstrated why their cult following was so devout. An album of miscellaneous tracks, covers and theme tunes that inspired them and a live recording of Manbeard in Dublin, the band were able to let their followers learn a little more about them and their beginnings.
Giraffe Heist... The Difficult Third Series...The Experimental Times...
Having resolved their internal issues and letting their feelings run riot in B-sides and Other Derailments, the band settled down and took a more experimental approach with their 3rd studio offering “Giraffe Heist”. Having decided to recognise (accept) their Russian fan base by way of using many Russian instruments such as the Khutang harp, used by many peoples in Siberia and introducing a Balalaika in several songs, chiefly “Betrayal of the Cossacks” which includes lyrics about the struggles of the Mansi people, they decided they would also need to hire a session guitarist to add an extra layer to their songs. The recording process went very smoothly, however, upon releasing the album, the band was inundated with mail, good and bad. Much of the bad mail consisted of complaints about the inclusion of guitars and shite songs.
Wheelchair Tennis at the 1988 Summer Paralympics...
The band went straight back to their roots with this one; they made it clear it was for reasons regarding the “amount of mail” they received about their last album and not because it wasn’t very good. Back was the instantly recognisable bass sound and back were the pounding drums. They cited their influences for this album to have been particularly interesting. On a flight on the way back from a short tour of Heligoland, one of the members of the band found a piece of parchment hidden within the magazine compartment with lyrics inscribed on it which were clearly influenced by a previous flight “travelling through space and time”. They decided they would adopt these lyrics as their own and alter them to make them “better”. Upon getting off the plane, they met a man going by the name “Matt Daemon”, who praised them for one of their gigs he had witnessed. The band members were thrilled to have received this praise and in the heat of the situation, they asked for his autograph. When they got home they realised that they had not met the famous actor “Matt Damon”, but merely a look alike with nearly the same name. He remained a key influence on the album however, with 3 songs written entirely about him.
Bargains Wait For No-One...
This album kept the heavy sound but introduced a variety of ambient interludes. What is particularly noticeable is the lengthly songs and an introduction spanning nearly 7 minutes. The band claimed it to be more of an ode to learning foreign languages however. “Pillowtits” follows, and since the song’s release, it has grown to become a fan favourite along with “Manbeard” from their first album. They kept up the tradition of including “Manbeard” on every album and gained relative success with this song. It was first aired on “Heavy Handed Radio” around this time. The band included a guitar solo in this version by “Dirk Floddy”, a former mechanic and friend of the band. One of the band members was said to have described this version of “Manbeard” as “more user friendly” than the original due to its polished sound. When pressed for more details, he claimed that he wasn’t sure what was meant by that but that he probably knew what he meant at the time and strenuously denies doing heroin. Unidentifiable sources from within the band seem to have hinted at the band becoming frustrated and lonely and in need of inspiration, listing this as one of the possible reasons for hiring an inanimate object as their new keyboardist, clearly shown on the album cover.
2 Hour Silence...
The band members decided they would record and release all their favourite songs with the word “silence” in the title. It was certainly an interesting idea, but they admitted they didn’t manage to pull it off as they wanted to.
Call of Duty... The Final Act
The band felt that they weren’t on the same wavelength as their fans for various reasons, whether it be the relentless and unforgiving nature of the press or because of their most recent offering. The band knew they had to draw in new fans and re-connect with their youth. They included a Lostprophets cover to try to do just that. This is of course the song they were making reference to when they said those infamous words we all know them by – “yeah, we’re playing all the right notes, but not necessarily in the right order”. The album achieved great success in the velvet underground music scene, a scene they helped to kickstart
However, this album proved too much to top. The band subsequently broke up. The rumours going round suggested that the band had problems with each others’ rolling technique and they confirmed the news after several weeks of abating false rumours, which proved to be the deciding factor in the decision to part ways. Unlike such problems after their second album, the decision did not seem to revolve around different opinions on artistic direction, as neither band member hinted at any new music project and in actual fact didn’t seem to have any interest in playing music at all.
The Reunion... Does the Postman Come on Saturdays?
The band reformed several weeks after the break up, perhaps out of boredom more than anything. The band members also found out that nothing ever happened between them and that it merely involved one of the members having a drunken argument with a stranger in the pub. In the days leading up to the reunion announcement, cryptic messages were posted on their label’s website, creating a drone of excitement. Around the same time, the band was hard at work adding the finishing touches to their very own Spliff Witchard facebook page. It was clear to see that Spliff Witchard was coming back bigger and better and perhaps (unbelievably) even more prolific than before. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
http://spliffwitchard.bandcamp.com/
https://www.facebook.com/SpliffWitchard?ref=hl
An Anteater’s Diary (The Truth and Not the Lie)
Formed from the ashes of Spliff and Witchard, Spliff Witchard are fast becoming one of the most prolific weed doom bands around. Pioneers, some would say, whereas others regard them as buccaneers (metalireland, DesertRock etc), however, the band themselves simply see their newfound project as a pretty decent weed doom band, bringing important issues to light whilst detailing the life of Manbeard. But this is their story in their own words (in the style of a biography)...
The early years…
Between July 2006 and September 2012, Spliff Witchard was in its primitive, early stages. With no album or even song recorded in their name, there was little to say about them. In fact there wasn’t even a potential name until late August in 2012. That name was Spliff Witchard and it has stuck ever since.
The Legend of Manbeard…
Recording finally got under way in September 2012. Their first album was greeted with mixed reviews, with some hailing it “pretty decent” whilst others regarded it as a failed attempt at humour, with one such review describing it as “distasteful, especially to the bands it has ripped off. It’s shit.” Here, the first period of hardship began within the band, with tensions rising. Despite this dark period and artistic differences, the band was able to record and release their next album…
B-Sides and Other Derailments…
With this album, the band demonstrated why their cult following was so devout. An album of miscellaneous tracks, covers and theme tunes that inspired them and a live recording of Manbeard in Dublin, the band were able to let their followers learn a little more about them and their beginnings.
Giraffe Heist... The Difficult Third Series...The Experimental Times...
Having resolved their internal issues and letting their feelings run riot in B-sides and Other Derailments, the band settled down and took a more experimental approach with their 3rd studio offering “Giraffe Heist”. Having decided to recognise (accept) their Russian fan base by way of using many Russian instruments such as the Khutang harp, used by many peoples in Siberia and introducing a Balalaika in several songs, chiefly “Betrayal of the Cossacks” which includes lyrics about the struggles of the Mansi people, they decided they would also need to hire a session guitarist to add an extra layer to their songs. The recording process went very smoothly, however, upon releasing the album, the band was inundated with mail, good and bad. Much of the bad mail consisted of complaints about the inclusion of guitars and shite songs.
Wheelchair Tennis at the 1988 Summer Paralympics...
The band went straight back to their roots with this one; they made it clear it was for reasons regarding the “amount of mail” they received about their last album and not because it wasn’t very good. Back was the instantly recognisable bass sound and back were the pounding drums. They cited their influences for this album to have been particularly interesting. On a flight on the way back from a short tour of Heligoland, one of the members of the band found a piece of parchment hidden within the magazine compartment with lyrics inscribed on it which were clearly influenced by a previous flight “travelling through space and time”. They decided they would adopt these lyrics as their own and alter them to make them “better”. Upon getting off the plane, they met a man going by the name “Matt Daemon”, who praised them for one of their gigs he had witnessed. The band members were thrilled to have received this praise and in the heat of the situation, they asked for his autograph. When they got home they realised that they had not met the famous actor “Matt Damon”, but merely a look alike with nearly the same name. He remained a key influence on the album however, with 3 songs written entirely about him.
Bargains Wait For No-One...
This album kept the heavy sound but introduced a variety of ambient interludes. What is particularly noticeable is the lengthly songs and an introduction spanning nearly 7 minutes. The band claimed it to be more of an ode to learning foreign languages however. “Pillowtits” follows, and since the song’s release, it has grown to become a fan favourite along with “Manbeard” from their first album. They kept up the tradition of including “Manbeard” on every album and gained relative success with this song. It was first aired on “Heavy Handed Radio” around this time. The band included a guitar solo in this version by “Dirk Floddy”, a former mechanic and friend of the band. One of the band members was said to have described this version of “Manbeard” as “more user friendly” than the original due to its polished sound. When pressed for more details, he claimed that he wasn’t sure what was meant by that but that he probably knew what he meant at the time and strenuously denies doing heroin. Unidentifiable sources from within the band seem to have hinted at the band becoming frustrated and lonely and in need of inspiration, listing this as one of the possible reasons for hiring an inanimate object as their new keyboardist, clearly shown on the album cover.
2 Hour Silence...
The band members decided they would record and release all their favourite songs with the word “silence” in the title. It was certainly an interesting idea, but they admitted they didn’t manage to pull it off as they wanted to.
Call of Duty... The Final Act
The band felt that they weren’t on the same wavelength as their fans for various reasons, whether it be the relentless and unforgiving nature of the press or because of their most recent offering. The band knew they had to draw in new fans and re-connect with their youth. They included a Lostprophets cover to try to do just that. This is of course the song they were making reference to when they said those infamous words we all know them by – “yeah, we’re playing all the right notes, but not necessarily in the right order”. The album achieved great success in the velvet underground music scene, a scene they helped to kickstart
However, this album proved too much to top. The band subsequently broke up. The rumours going round suggested that the band had problems with each others’ rolling technique and they confirmed the news after several weeks of abating false rumours, which proved to be the deciding factor in the decision to part ways. Unlike such problems after their second album, the decision did not seem to revolve around different opinions on artistic direction, as neither band member hinted at any new music project and in actual fact didn’t seem to have any interest in playing music at all.
The Reunion... Does the Postman Come on Saturdays?
The band reformed several weeks after the break up, perhaps out of boredom more than anything. The band members also found out that nothing ever happened between them and that it merely involved one of the members having a drunken argument with a stranger in the pub. In the days leading up to the reunion announcement, cryptic messages were posted on their label’s website, creating a drone of excitement. Around the same time, the band was hard at work adding the finishing touches to their very own Spliff Witchard facebook page. It was clear to see that Spliff Witchard was coming back bigger and better and perhaps (unbelievably) even more prolific than before. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
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