The problem with Witch House is not the unGoogleable name gimmicks. It’s not the impossible translation to live performance.

It’s not even the shameful Pitchfork ‘rape gaze’ incident a few years back,
even though there’s a special place in the music industry underworld for those involved in its coinage and promotion.

Its problem lies in the fact that it was out of date at its conception. It’s so stagnant in its methods and limited in its contributors oOoOO

that there’s barely any room for progression, and that’s exactly the case with Christopher Dexter Greenspan’s eventual debut album.

After two years and two EPs under the onomatopoeic oOoOO moniker, Greenspan is still churning out the same chopped vocals and the same druggy synths that many have already called out for their repetitiveness.

‘Misunderstood’ provides a glimpse of hope with its initial lines of cavernous bass, but falls into familiar clichéd territory within less than a minute. oOoOO

It’s not that it’s not good; it’s just that we’ve heard it all before.oOoOO

…Brian Eno
“It was 2003, and I was only 23, when I started working with him. It was scary walking into his studio, but then he shook my hand and went back to reading the paper, and I quickly realised there was no need to be worried.

Once we got into the actual music bit, too, I was even less worried because he’s all about improvisation, and I’ve been doing that all my life and it’s what I love doing.

He’s the opposite of that intimidating character that some people have him painted as; he’s got the filthiest sense of humour you’ll ever come across, swears his head off and gets up to ridiculous stuff.

He’s about my dad’s age, and he’s got a pretty enviable life: he travels the
world, writes music, does art installations, does whatever he wants.

I wouldn’t say he’s a close personal friend but I’ve experienced enough time with him to realise he has a good time and he’s a pretty liberated man – it’d be nice to think that I could have that much time at that age.”

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