Black Road — Witch Of The Future (Oct. 31, 2019)                   Black Road — Witch Of The Future (Oct. 31, 2019) Pamela MÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃéndez ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃâ Time (22 Feb 2019)
→   Vzhledem k tomu, jak se Black Road ve svém debutu v roce 2017 tak silně rozběhli, je úžasné pozorovat, jak se albem „Witch of the Future“ pořád ještě zlepšují. Přechod k více heavy soundu je přirozený, protože se nikdy nerozkládá v organickém hudebním stylu skupiny. Je posílen pouze jejich již existujícím estetickým charakterem. Jejich styl je přístupnější, než u velké části jejich vrstevníků a mají cit, aby zabránili obvinění ze zahlcení. Pokud jste byli unaveni okultním rockovým zvukem, Black Road vždy nabízí novou variantu. Nezakrývám, že souznění s Black Sabbath zde nepochybně je.
Location: Chicago, Illinois 
Genre: Heavy Rock/Stoner Psych/ Doom Rock/Blues 
Album release: October 31, 2019
Record Label: DHU Exclusive // WOTF Edition 
Duration:     41:34
01. Purgatory   3:10
02. Radiation   7:35
03. Witch of the Future   10:33
04. Torches   5:03
05. Blood on the Blade   2:49
06. Hash King   7:15
07. End of Man   5:09
Ξ     Casey Papp   Bass
Ξ     Suzi Uzi, Tim Morano   Composed
Ξ     Robert Gonzales   Drums
Ξ     Tim Morano   Guitar
Ξ     Suzi Uzi   Vocals, Lyrics, Tambourine, Piano
ϖ∞ϖ     Tracked & Recorded: Roosterbat Studios — Antioch, IL
ϖ∞ϖ     Mixed & Mastered: John Becker at Roosterbat Studios
ϖ∞ϖ     Cover Image & Edits: Danny Gonzales
ϖ∞ϖ     Cover Layout: Suzi Uzi
ϖ∞ϖ     Cover photography by Don Corthier
ϖ∞ϖ     Recorded & mixed at Roosterbat studios by John Becker & Alec Haley
ϖ∞ϖ     Mastered for vinyl/cassette by Tony Reed
Witch of the Future v různých designechReview
Chris Latta. October 4, 2019
→   While Black Road’s 2017 self~titled debut largely sounded like bluesy hard rock with some doomy tinges, the Chicago group offers the literal opposite approach on Witch of the Future. The album gets the blues out of its system almost immediately with the opening instrumental “Purgatory” and the sweeping title track, but the latter ends up giving way to overtly metallic riff work and a groovy tempo shift through its ten~minute runtime. The album’s second half pushes this even further with heavy cuts like the 70s swagger of “Blood of the Blade” and the psych~drenched “Hash King.”
→   This album also plays up the ominous atmosphere that was merely hinted at on the debut. One can find the occasional keyboard or creepy lead tucked away in the mix while the vocal lines and layering weave about the songs in a spooky fashion, giving credence to the occult lyrics. It’s conveyed the most powerfully at the album’s midway point with “Torches,” a major highlight thanks to its oppressively dark atmosphere and pounding rhythms that feel like a cross between Rush’s “Witch Hunt” and Soundgarden’s “Beyond the Wheel.”
→   Like the debut before it though, Witch of the Future is absolutely dominated by the guitar playing. Tim M. continues to prove himself as one of the most talented players in our generation, mixing organically fluid blues leads and soloing with choppy gallops and solid doom riffs. The tone might’ve benefitted from a little extra crunch and bottom end, but the bass has a consistently fuzzy presence and the drums are sufficiently hefty. The vocals also maintain a healthy balance, keeping some distance without being standoffish and vibrant without getting too in your face.
→   Considering how Black Road started off so strong on their 2017 debut, it’s impressive to see them get even better with Witch of the Future. The move to a heavier sound feels natural as it never cuts into the group’s organic musicianship and is only strengthened by their pre~existing aesthetic. Their style is more accessible than a good bulk of their peers and they have the chops to deter accusations of watering down. Even if you have grown fatigued with the occult rock sound, Black Road always offers a fresh variation.
→   “Radiation”
→   “Witch of the Future”
→   “Torches”
→   “Hash King”
FB:  Black Road 2019. — from L to R Casey Papp, Tim Morano, Suzi Uzi and Robert Gonzales.