WITCH- “SOGOLO” REVIEW
Written by Blake Peck
SOGOLO is a joyful, fuzz-soaked rebirth that expands WITCH’s psychedelic Zamrock legacy with charm, grit, and groove.
WITCH’s new album Sogolo is a psychedelic swirl of groove, fuzz, and feeling. For a band whose roots stretch back to the early 1970s as pioneers of Zamrock, Zambia’s explosive, guitar-driven fusion of garage rock, funk, and local rhythms, Sogolo feels both like a return and an evolution. After decades of dormancy and a legendary status among crate-diggers, WITCH (We Intend To Cause Havoc) has risen again, and Sogolo is proof they have more to say, and more joy to spread, than ever before.
What makes Sogolo so magnetic is its balance. It is soaked in vintage textures and blown-out riffs, but it also has a bright, contemporary pulse. The album feels alive, like something happening right in front of you, inviting you to move, to dance, to listen more closely. These aren’t just songs. They’re stories, tributes, declarations, a celebration of time passing, and a refusal to let it dim the fire.
The album kicks off with "Kamusale," a swaggering opener that immediately lays out the sonic palette. A crisp snare snaps into a stomping groove, while layers of fuzzy guitar chatter and percussive clatter give it a loose, funky propulsion. Lead singer Emmanuel “Jagari” Chanda, the last original member, sounds energized and focused. His voice is part rallying cry, part storyteller, and here it rides the rhythm like it never left.
"Nadi" follows with a more languid sway, unfolding with swirling organs, lilting guitar lines, and a vocal that feels deeply spiritual. It plays like a nostalgic daydream, drenched in warmth, and anchored by a bassline that pulses steadily like a heartbeat. There’s a gentle yearning here, not sad, but reflective — and it shows the band’s ability to shift gears without losing momentum.
Then comes "Queenless King," a standout track that buzzes with character. The title alone is evocative, and the music follows suit. Fuzzy riffs loop around a punchy beat while the vocals swing between spoken-word verses and soulful outbursts. It’s playful and theatrical, like a funk-infused fable, and it shows WITCH at their most charismatic.
"Tiponde Madzi" changes the mood again, easing into a simmering groove built around hypnotic percussion and layered vocals that call and respond in a circular chant. The track feels rooted in Zambian folk traditions but filtered through the band’s uniquely psychedelic lens. The repeated phrase becomes almost trance-like, drawing you deeper into the album’s spiritual core.
"Bang Bang" wakes you back up with a burst of energy. It's raw and unfiltered, a guitar-forward track that nods to the band’s garage rock roots. There’s a gritty, lo-fi charm to the recording, with instruments bleeding into each other and vocals that sound like they’re being shouted from a rooftop. It's messy in all the right ways.
SOGOLO album artwork. Out today Desert Daze Sound
"Set Free" pulls the album into its most heartfelt territory. The tempo slows, and the mood turns reflective. Chanda’s voice takes on a weathered, almost weary tone, singing about liberation, personal, political, and emotional. The instrumentation stays simple, allowing the lyrics and melody to rise to the surface. It’s not flashy, but it cuts deep.
"Mbangula Sesa" returns to more danceable territory. It's got a slippery rhythm, with guitar licks that curl around the beat and a bassline that struts. You can hear echoes of Afrobeat and funk here, but always through the band’s particular sonic filter: unpredictable, slightly off-kilter, and deeply groovy.
The emotional centerpiece of the record might be "(In Memory Of) John," a moving tribute to former bandmate and Zamrock legend John Muma. The track opens with a simple melody and ambient background noise, almost like the start of a film. When the vocals come in, they’re hushed and intimate. This one is personal, a moment of pause in an otherwise vibrant record, and it reminds us of the passage of time and the cost of legacy.
"Dancer on a Trip" brings back the band’s zany side. The title says it all. This is a funky, spiraling track that could easily soundtrack a neon-lit chase scene. Synths squiggle, guitars jab, and the beat drives everything forward with manic energy. It’s chaotic but controlled, and it radiates fun.
"Nibani" slows things down again but keeps the bounce. The groove is laid-back and confident, with a dreamy organ floating on top. Vocals weave in and out, creating a kind of communal chant that feels both earthly and cosmic. You could imagine this playing at a festival as the sun goes down.
"Totally Devoted" is a love song, but not in the usual sense. There’s something strange and theatrical about it like a glam rock ballad warped by heat and dust. The lyrics are simple, but the delivery is big, bordering on camp in the best way. It’s charming, unexpected, and a reminder that WITCH doesn’t take itself too seriously.
Finally, "Machiriso" closes the album on a high. It’s bright, celebratory, and full of life. Percussion dances across the stereo field, guitars shimmer and flutter, and the vocals burst with gratitude. You get the sense that the band knows exactly what this moment means, not just for them, but for Zamrock, for Zambia, and for everyone who kept their records spinning through the years.
With Sogolo, WITCH has crafted more than a comeback album. They’ve added a new chapter to a story that many thought had ended. It honors their past without being stuck in it, and embraces their future without forgetting where they came from. There’s grit, there’s groove, there’s grief, and above all, there’s joy. You can feel it in every fuzzed-out riff and every syncopated drum hit. This isn’t just a revival. It’s a rebirth.
Occult Highlights: Queenless King, (In Memory Of) John, Dancer on a Trip
(…but we recommend you spin the whole thing ,as “We Intend To Create Harmony!” )