Artist

All Them Witches

Nashville, United States • Formed 2012

All Them Witches is a music group from Nashville, United States, active since 2012. Their discography on Gatefold includes 11 records.

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Albums tracked

134

In collections

2012

Since

Biography

All Them Witches is an explosive psychedelic trio from Nashville, Tennessee, USA Employing a heady, D.I.Y. blend of bluesy, neo-psychedelic rock, stoner metal, and progressive space rock, they emerged in 2012. The band's name is taken from a book of witchcraft, All of Them Witches, featured in the 1968 film Rosemary's Baby. Nick Pipitone of Monster Riff described how the band are "influenced just as much by Dr. John and Mississippi bluesman Junior

The Arc of All Them Witches

The pivots — what forced All Them Witches to reinvent.

The Garage Psych Foundations
The early days were defined by the raw, unpolished energy of Our Mother Electricity and Lightning at the Door, where the band functioned as a lean, mean psychedelic blues machine. They relied heavily on the chemistry between McLeod’s blues-drenched guitar and Parks’ minimalist bass lines, often recording live to capture the improvisational heat of their local shows. You can hear the lack of a massive budget in the best way possible, with the room mics catching every rattle of the snare. It established their blueprint: heavy, repetitive grooves that felt more like a trance than a standard rock song.
The Cobb Maximalist Shift
When they teamed up with producer Dave Cobb for Sleeping Through the War, the band traded their stripped-back grit for a lush, cinematic wall of sound. Cobb brought in his Nashville expertise but applied it to space-rock, adding guest vocalists and Mellotron layers that gave the songs a massive, panoramic feel. It was a polarizing pivot that moved them away from the 'stoner' tag and into something more akin to art-rock. This era proved they could handle a big-budget studio without losing the core of their heavy, brooding DNA.
The Abbey Road Stripping
For Nothing as the Ideal, the band headed to Abbey Road and worked with Mikey Allred to strip the fat back off the bones. Recording in Studio Two forced a focus on precision and atmosphere, resulting in their most technical and darkest material to date. Gone were the flowery backup singers of the previous cycle, replaced by sharp, metallic edges and haunting acoustic passages. It sounds like a band coming full circle, using the world's most famous studio to make something that feels claustrophobic and intensely heavy.

Influences

Pink Floyd — Parks has explicitly cited Meddle as a foundational text for the band's approach to long-form transitions. You hear it in the way 'Diamond' or 'Harvest Feast' uses space and patience before the heavy payoff hits. They took the Floydian concept of a 'sonic trip' and dipped it in Tennessee river mud.
Junior Kimbrough — The band’s obsession with hypnotic, one-chord North Mississippi Hill Country blues is a direct lift from Kimbrough’s playbook. Ben McLeod’s repetitive, circular riffing on tracks like 'When God Comes Back' mirrors Kimbrough's trancelike style. It’s about the groove staying static while the intensity builds until it boils over.
Black Sabbath — They’ve covered 'Inside Looking Out' and clearly worship at the altar of the Geezer Butler school of lead-bass playing. Parks’ distorted, fuzzed-out bass tone is the literal engine of the band, providing the melodic weight that allows the guitar to wander off. Without the Master of Reality blueprint, their low-end wouldn't have half the teeth it does.
The Grateful Dead — While they aren't a 'jam band' in the noodling sense, they’ve cited the Dead’s live improvisational philosophy as the reason they never play a song the same way twice. The influence is in the telepathic communication between Staebler and McLeod during their extended live freakouts. It's the spirit of the '69 Fillmore West sets translated into doom-blues.
The Doors — Allan Van Cleave’s Rhodes and organ work is the secret weapon that mirrors Ray Manzarek’s ability to provide both melody and a dark, swirling atmosphere. You hear it most clearly on the self-titled ATW record, where the keys aren't just background noise but an essential, spooky lead voice. They captured that 'L.A. Woman' late-night studio grit and moved it to a cabin in the woods.