Witchcraft commonly encompasses various holy days and practices that hold significant meaning within the belief system. These celebrations, often referred to as Sabbats, mark important periods in the wheel of the year. They are deeply rooted in nature and the cyclical changes observed in the environment. The eight Sabbats are divided into two categories: the Lesser Sabbats, known as the solstices and equinoxes, and the Greater Sabbats, which include Samhain, Imbolc, Beltane, and Lammas. Each of these days has its own unique rituals and customs, but they all share a common focus on nature, deity worship, and magic. Samhain, celebrated on October 31st, is perhaps the most well-known Sabbat.
To create the cover art for Data Doom (a co-release from Greenway Records and The Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”
Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore vocals, guitar and Josh Menashe lead guitar, synth , Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki Pickle Smith formerly of Death Valley Girls and drummer Nick Aguilar previously a touring drummer for punk legend Mike Watt. After opening on the epic majesty of Empire, Data Doom launches into the first song the band s new lineup wrote together Burn Me Down, an irresistibly jittery track that perfectly encapsulates the album s transcendent collision of blistering riffs and polyrhythmic grooves.
Samhain, celebrated on October 31st, is perhaps the most well-known Sabbat. Also known as Halloween, it is a time to honor ancestors and communicate with the spirit world. It marks the beginning of the witch's year and is associated with death, transformation, and rebirth.
Frankie and the Witch Fingers
Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they’ve brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today.
Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses.
Once again showcasing the expansive and fantastically eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters. Data Doom encompasses nine high-wattage songs constructed with both dizzying intricacy and unfettered imagination. On “Mild Davis,” for instance, the band shares a gloriously spaced-out track inspired by a piece from Miles Davis’s early-’70s electric period, cycling through a vast whirlwind of rhythms and textures and wildly spellbinding guitar parts. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” Menashe recalls. Meanwhile, Sizemore’s lyrics shift between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote the lyrics to ‘Mild Davis' in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”
After opening on the epic majesty of “Empire,” Data Doom launches into the first song the band’s new lineup wrote together: “Burn Me Down,” an irresistibly jittery track that perfectly encapsulates the album’s transcendent collision of blistering riffs and polyrhythmic grooves. On “Electricide,” Frankie and the Witch Fingers unleash the LP’s most unabashedly punk offering, a bombastic rallying cry built on Aguilar’s breakneck drumming. One of several songs featuring Menashe on sax, “Syster System” slips into a hypnotically fluid tempo as Frankie and the Witch Fingers muse on the possibilities of partnership culture (a concept introduced by futurist Riane Eisler in her seminal book The Chalice and the Blade). “Riane Eisler talks about how our society has a very masculine energy that manifests as the need to exert power, which she refers to as dominator culture,” Sizemore explains. “The alternative to that is partnership culture, which has a feminine energy that’s more symbiotic with nature. The idea behind ‘Syster System’ is that if we could bring that energy into technology, it could help make everything more harmonious.” And on “Political Cannibalism,” Data Doom closes out with a dance-ready anti-anthem stacked with so many loopy details, such as a warped and otherworldly guitar part Menashe spontaneously composed in an attic in France.
To create the cover art for Data Doom (a co-release from Greenway Records and The Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”
Imbolc, which falls on February 1st or 2nd, is a celebration of the coming spring. It is a time to cleanse and purify, as well as honor the Celtic goddess Brigid. This Sabbat is often associated with fertility, healing, and the awakening of new life. Beltane, celebrated on May 1st, is a joyful celebration of life, love, and fertility. It is traditionally observed with bonfires, dancing, and the weaving of flower crowns. Beltane marks the height of spring and is associated with the union of the god and goddess. Lammas, also known as Lughnasadh, is celebrated on August 1st. It is a harvest festival that honors the Celtic god Lugh. Lammas is a time to give thanks for the abundance of the earth and to celebrate the fruits of our labor. It also signifies the first harvest and the beginning of the end of summer. In addition to these Sabbats, witches may also observe esbats, which are monthly celebrations of the full moon. These are times when witches come together to perform rituals, cast spells, and honor the lunar energy. While the practices and traditions may vary among different witchcraft traditions, the underlying principle remains the same – to connect with nature, honor the cycles of life, and harness the power of the divine. These holy days and practices serve as a reminder of the interconnectedness of all things and the eternal cycle of life..
Reviews for "Kitchen Witchcraft: Cooking and Herbal Magic in Daily Life"
- John - 2 stars - I found "Witchcraft holy days and practices" to be extremely boring and uninformative. The author seemed to just throw together random information without any clear structure or depth of knowledge. I was hoping for a more in-depth exploration of witchcraft practices, but instead, I got a shallow overview that left me feeling unsatisfied. Overall, I would not recommend this book to anyone looking to learn more about witchcraft.
- Emma - 1 star - As someone who has been practicing witchcraft for many years, I was extremely disappointed with this book. It seemed to treat witchcraft as a novelty rather than a serious spiritual practice. The information was basic and lacked depth, and many of the practices described were either outdated or completely inaccurate. I felt like the author did not have a true understanding of witchcraft and simply regurgitated common stereotypes. I would not recommend this book to anyone looking to learn about witchcraft.
- David - 2 stars - "Witchcraft holy days and practices" left a lot to be desired. The information provided was surface-level at best and failed to provide a comprehensive understanding of the topic. The writing style was dry and lacked any excitement or engagement. Additionally, I was disappointed with the lack of diversity and inclusivity in the book. It seemed to cater to a specific demographic and excluded other perspectives. Overall, I would not recommend this book to anyone looking for a thorough exploration of witchcraft practices.
- Sarah - 3 stars - While "Witchcraft holy days and practices" had some interesting information, I felt like it lacked depth and missed the mark in certain areas. The author seemed to focus heavily on history and folklore, but failed to provide practical advice or guidance for those interested in practicing witchcraft. I also found some of the content to be repetitive and could have benefited from more organization. Overall, it was an okay read, but I wouldn't recommend it as a comprehensive guide to witchcraft.